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Sample records for symphony orchestra musicians

  1. Investigation of symphony orchestra musicians' use of hearing protectors

    DEFF Research Database (Denmark)

    Poulsen, Torben; Koskinen, Heli

    2010-01-01

    A questionnaire study was performed about the use of hearing protectors in Danish symphony orchestras. The musicians in three Danish symphony orchestras were asked to complete a questionnaire about their use of hearing protection. A total of 146 musicians filled in the questionnaire. Results show...... an investigation is performed about the use of hearing aids as hearing protectors by symphony orchestra musicians. Preliminary results from this investigation will be presented at the conference....

  2. Audiograms of symphony orchestra musicians

    DEFF Research Database (Denmark)

    Obeling, Lise; Poulsen, Torben

    1998-01-01

    performed during rehearsal and during concerts in the four orchestras with a sound level meter placed in various instrument groups. At the same time a noise dose meter was used to evaluate the dose perceived by specific orchestra members.The average audiogram showed a decrease at higher frequencies similar......, which takes account of the number of years at work, the number of playing hours per week, and the average sound level in the orchestra for the instrument group. In almost all cases the measured audiograms looked better than the predictions from ISO 1999.It may be concluded from this investigation...

  3. Hearing ability in Danish symphony orchestra musicians

    DEFF Research Database (Denmark)

    Obeling, Lise; Poulsen, Torben

    1999-01-01

    equipment placed in various instrument groups. The average audiogram showed a decrease at higher frequencies similar to an age-related hearing loss. Each audiogram was corrected for the age of the person by means of the median from ISO 7029 and the average audiogram from these age-corrected individual...... audiograms showed no signs of hearing loss. The audiograms were also compared to the expected audiograms from ISO 1999, which takes account of the number of years at work, the number of playing hours per week, and the average sound level in the orchestra for the instrument group. In almost all cases...... the measured audiograms looked better than the predictions from ISO 1999. It may be concluded from this investigation that musicians cannot be expected to get pronounced audiometric hearing losses from playing in a symphony orchestra. It should be noted, though, that the data material is limited...

  4. Sound Exposure of Symphony Orchestra Musicians

    DEFF Research Database (Denmark)

    Schmidt, Jesper Hvass; Pedersen, Ellen Raben; Juhl, Peter Møller

    2011-01-01

    Background: Assessment of sound exposure by noise dosimetry can be challenging especially when measuring the exposure of classical orchestra musicians where sound originate from many different instruments. A new measurement method of bilateral sound exposure of classical musicians was developed a...

  5. Hearing loss in relation to sound exposure of professional symphony orchestra musicians

    DEFF Research Database (Denmark)

    Schmidt, J. H.; Pedersen, E. R.; Paarup, H. M.

    2014-01-01

    OBJECTIVES: The objectives of this study were to: (1) estimate the hearing status of classical symphony orchestra musicians and (2) investigate the hypothesis that occupational sound exposure of symphony orchestra musicians leads to elevated hearing thresholds. DESIGN: The study population...... that performing music may induce hearing loss to the same extent as industrial noise....

  6. Distortion product otoacoustic emission fine structure of symphony orchestra musicians

    DEFF Research Database (Denmark)

    Reuter, Karen; Hammershøi, Dorte

    2006-01-01

    losses than puretone audiometry. The distortion product otoacoustic emission (DPOAE) fine structure is obtained when the ear is stimulated by dual tone stimuli using a high frequency resolution. It is characterized by quasi-periodic variations across frequency, as it can be observed in the hearing...... threshold microstructure also. In this study DPOAE fine structures and hearing thresholds are obtained for symphony orchestra musicians both for left and right ears and before and after the orchestra rehearsal. DPOAE fine structures are analyzed with an automatic classification algorithm, which describes...... the ripple pattern by parameters. A difference between left and right ears could be detected for the DPOAE level but not for the fine structure parameters. No difference between the measures taken before and after exposure could be observed....

  7. Noise induced hearing loss and other hearing complaints among musicians of symphony orchestras

    NARCIS (Netherlands)

    Jansen, E.J.M.; Helleman, H.W.; Dreschler, W.A.; de Laat, J.A.P.M.

    2009-01-01

    OBJECTIVES: An investigation of the hearing status of musicians of professional symphony orchestras. Main questions are: (1) Should musicians be treated as a special group with regard to hearing, noise, and noise related hearing problems (2) Do patterns of hearing damage differ for different

  8. Comparing the Impact of Specific Strength Training vs General Fitness Training on Professional Symphony Orchestra Musicians

    DEFF Research Database (Denmark)

    Nygaard Andersen, Lotte; Mann, Stephanie; Juul-Kristensen, Birgit

    2017-01-01

    mass index, and self-assessed physical fitness. A total of 23 professional symphony orchestra musicians were randomly allocated to either the SST (n=12) or GFT (n=11) groups. Participants conducted three 20-minutes exercise periods/wk at the workplace for 9 weeks. RESULTS: Evaluations of both...

  9. Prevalence and consequences of musculoskeletal symptoms in symphony orchestra musicians vary by gender: a cross-sectional study

    Directory of Open Access Journals (Sweden)

    Paarup Helene M

    2011-10-01

    Full Text Available Abstract Background Musculoskeletal symptoms are common in the neck, back, and upper limbs amongst musicians. Playing-related musculoskeletal disorders have been found to range from 32% to 87% with a tendency for female musicians to have more problems than males. Studies of musculoskeletal problems in instrumentalists have generally involved pre-professional musicians or populations comprising musicians of different levels. The objective of this study was therefore to investigate the prevalence, duration and consequences of musculoskeletal symptoms in professional symphony orchestra musicians. Methods A cross-sectional questionnaire study. The study population comprised of 441 musicians from six Danish symphony orchestras; 342 (78% completed the questionnaire. Results During the last year 97% of the women and 83% of the men experienced symptoms in at least one of nine anatomic regions (neck, upper and lower back, shoulders, elbows, and hands and wrists. 86% of the women and 67% of the men experienced symptoms for more than seven days, while 63% of the women and 49% of the men had symptoms for more than 30 days. Woodwind players had a lower risk for musculoskeletal symptoms and a lower risk for the consequences. Among consequences were changed way of playing, reported by 73% of the musicians, difficulty in daily activities at home, reported by 55%, and difficulty in sleeping, reported by 49%. Their health behaviour included taking paracetamol as the most used analgesic, while physiotherapists and general practitioners were reported as the most consulted health care professionals concerning musculoskeletal problems. Results regarding symptoms in six anatomic regions were compared to results for a sample of the general Danish workforce. Symptoms were more frequent in musicians and lasted longer than in the general workforce. This applied to both genders. Conclusions Within the last year most symphony orchestra musicians experienced musculoskeletal

  10. Ergonomic activity analysis of the musicians of the Symphony Orchestra of Paraná state: risk factors and workloads

    Directory of Open Access Journals (Sweden)

    Jaqueline de Lima

    2014-04-01

    Full Text Available This study aimed to investigate the risk factors present in the work activity and their impact on the health of the musicians of the Symphony Orchestra of Parana state. It is a descriptive qualitative research based on the method of Ergonomic Workplace Analysis of Francophone strand, used as a tool by occupational therapists in the health-work interface. The following procedures were performed: bibliographical survey, documental analysis of productivity data, production and quality of the task, systematic observation of the rehearsals of the Symphony Orchestra of Parana, task and workplace analysis with the application of Ergonomic Workplace Analysis (EWA and, confrontation of the data analyzed with an instrumental musician. As a result, the study showed significant deviations with reference to the standards described in Brazilian Norm 17 (Ergonomics, especially regarding individual cognitive and physical demands as well as demands related to work organization, considering each item evaluated by this analytical instrument. The action of occupational therapy was grounded on the insertion in the health and illness process, health promotion, illness prevention, and training of musicians as workers and social actors, envisioning the transformation of work situations.

  11. Hearing Protection and Hearing Symptoms in Danish Symphony Orchestras

    DEFF Research Database (Denmark)

    Laitinen, Heli; Poulsen, Torben

    2006-01-01

    A study about hearing protectors, problems involving hearing protector usage, hearing problems and working surroundings of classical musicians was made in three Danish symphony orchestras. The questionnaire used in the study was based on a previous study, a study made in Sweden to rock musicians,...

  12. Schnittke: Symphony N3. Stockholm Philharmonic Orchestra / David J. Fanning

    Index Scriptorium Estoniae

    Fanning, David J.

    1990-01-01

    Uuest heliplaadist "Schnittke: Symphony N3. Stockholm Philharmonic Orchestra, Eri Klas. BIS/ Conifer CD 477 Schnittke: Concerto Grosso N4, Symphony N5. Gothenburg Symphony Orchestra, Neeme Järvi" BIS/ Conifer CD 427

  13. A cross-sectional study of psychosocial work environment and stress in the Danish symphony orchestras.

    Science.gov (United States)

    Holst, Gitte Juel; Paarup, Helene M; Baelum, Jesper

    2012-08-01

    To investigate psychosocial work environment and stress in Danish symphony orchestra musicians. This was a cross-sectional questionnaire survey of psychosocial work factors and stress symptoms among 441 musicians in six Danish symphony orchestras. The response rate was 78% (n = 342). The questions were from COPSOQ (Copenhagen Psychosocial Questionnaire). Mean values of 19 COPSOQ-scales were compared by gender and instrument group. The results for the musicians were compared with results for the general Danish work force (COPSOQ database). Female musicians reported higher work demands and higher stress symptoms than their male colleagues. Between instrument groups, 2nd violinists seemed to be of particular risk compared with the other instrumental groups in aspects of work pace, work organization, and content, whereas 1st violinists perceived higher emotional stress compared with 2nd violinists. The musicians' experience of increased work demands as well as deteriorated, work organization and job content, interpersonal relations and leadership, and work-individual interface was significantly associated with increasing stress symptoms. Compared to the general workforce independently of gender, Danish symphony orchestra musicians reported higher emotional demands, lower influence, lower social support, lower sense of community, and lower job satisfaction. However, the musicians reported a higher commitment to the workplace. The findings indicate a more demanding psychosocial work environment exposure among symphony orchestra musicians than among Danish workers in general. Critical results are the relatively high work demands, low influence, and low social support, females being of higher risk than males.

  14. Grieg: Works for String Orchestra. Gothenburg Symphony Orchestra, Neeme Järvi / Sanders, Alan

    Index Scriptorium Estoniae

    Sanders, Alan

    1993-01-01

    Uuest heliplaadist "Grieg: Works for String Orchestra. Gothenburg Symphony Orchestra, Neeme Järvi. CD 437 520 - 2GH Grieg: Land Sighting, Op.32, Olav Trygvason, Op.50, Per Gynt Suites N1,Op.46, N2,Op.55. Randi Stene, Anne Gjevang, Hakan Hagegard, Gothenburg Symphony Chorus, Gothenburg Symphony Orchestra, Neeme Järvi. CD 437 523 - 2 GH

  15. Strauss, R.: Symphony in F minor, Op. 12... Tokyo Metropolitan Symphony Orchestra / David Nice

    Index Scriptorium Estoniae

    Nice, David

    1994-01-01

    Uuest heliplaadist "Strauss, R.: Symphony in F minor, Op. 12... Tokyo Metropolitan Symphony Orchestra / Hiroshi Wakasugi. Denon CD CO-75 860 (54 minutes); Symphony - comparative version: SNO, Järvi" (8/93)(CHAN) CHAN 9166

  16. Prevalence and consequences of musculoskeletal symptoms in symphony orchestra musicians vary by gender: a cross-sectional study

    DEFF Research Database (Denmark)

    Paarup, Helene M.; Baelum, Jesper; Holm, Jonas W

    2011-01-01

    ABSTRACT: BACKGROUND: Musculoskeletal symptoms are common in the neck, back, and upper limbs amongst musicians. Playing-related musculoskeletal disorders have been found to range from 32% to 87% with a tendency for female musicians to have more problems than males. Studies of musculoskeletal...... and a lower risk for the consequences. Among consequences were changed way of playing, reported by 73% of the musicians, difficulty in daily activities at home, reported by 55%, and difficulty in sleeping, reported by 49%. Their health behaviour included taking paracetamol as the most used analgesic, while...

  17. Voxel-based morphometry reveals increased gray matter density in Broca's area in male symphony orchestra musicians.

    Science.gov (United States)

    Sluming, Vanessa; Barrick, Thomas; Howard, Matthew; Cezayirli, Enis; Mayes, Andrew; Roberts, Neil

    2002-11-01

    Broca's area is a major neuroanatomical substrate for spoken language and various musically relevant abilities, including visuospatial and audiospatial localization. Sight reading is a musician-specific visuospatial analysis task, and spatial ability is known to be amenable to training effects. Musicians have been reported to perform significantly better than nonmusicians on spatial ability tests, which is supported by our findings with the Benton judgement of line orientation (JOL) test (P musicians. Voxel-based morphometry (VBM) and stereological analyses were applied to high-resolution 3D MR images in male orchestral musicians (n = 26) and sex, handedness, and IQ-matched nonmusicians (n = 26). The wide age range (26 to 66 years) of volunteers permitted a secondary analysis of age-related effects. VBM with small volume correction (SVC) revealed a significant (P = 0.002) region of increased gray matter in Broca's area in the left inferior frontal gyrus in musicians. We observed significant age-related volume reductions in cerebral hemispheres, dorsolateral prefrontal cortex subfields bilaterally and gray matter density in the left inferior frontal gyrus in controls but not musicians; a positive correlation between JOL test score and age in musicians but not controls; a positive correlation between years of playing and the volume of gray matter in a significant region identified by VBM in under-50-year-old musicians. We suggest that orchestral musical performance promotes use-dependent retention, and possibly expansion, of gray matter involving Broca's area and that this provides further support for shared neural substrates underpinning expressive output in music and language.

  18. Perancangan Interior Sekolah Musik Surabaya Symphony Orchestra Di Surabaya

    OpenAIRE

    Grace Mulyono, Liliyana Tan IGN. Ardana

    2016-01-01

    Classical music has a lot of benefits that can make more optimal brain development. Surabaya Symphony Orchestra Music School is a place to facilitate society in Surabaya to learn classical music.Many activities that can support learning classical music has not been facilitated due to the limited area, and lack of interior on SSO create interest and learning music became blocked. In accordance with Dolce concept which means “to play sweetly”, the music school design is using bright colors with...

  19. Hearing loss among classical-orchestra musicians

    Directory of Open Access Journals (Sweden)

    Esko Toppila

    2011-01-01

    Full Text Available This study intended to evaluate classical musicians′ risk of hearing loss. We studied 63 musicians from four Helsinki classical orchestras. We measured their hearing loss with an audiometer, found their prior amount of exposure to sound and some individual susceptibility factors with a questionnaire, measured their present sound exposure with dosimeters, and tested their blood pressure and cholesterol levels, then compared their hearing loss to ISO 1999-1990′s predictions. The musicians′ hearing loss distribution corresponded to that of the general population, but highly exposed musicians had greater hearing loss at frequencies over 3 kHz than less-exposed ones. Their individual susceptibly factors were low. Music deteriorates hearing, but by less than what ISO 1999-1990 predicted. The low number of individual susceptibility factors explained the difference, but only reduced hearing loss and not the prevalence of tinnitus.

  20. 77 FR 40515 - Safety Zone; Detroit Symphony Orchestra at Ford House Fireworks, Lake St. Clair, Grosse Pointe...

    Science.gov (United States)

    2012-07-10

    ... SECURITY Coast Guard 33 CFR Part 165 RIN 1625-AA00 Safety Zone; Detroit Symphony Orchestra at Ford House... Detroit Symphony Orchestra at the Ford House Fireworks. This zone will be effective and enforced from 10... Orchestra at Ford House Fireworks, Lake St. Clair, Grosse Pointe Shores, MI (a) Location. The safety zone...

  1. Brahms J. Hungarian Dances. London Symphony Orchestra, Neeme Järvi / Jonathan Swain

    Index Scriptorium Estoniae

    Swain, Jonathan

    1991-01-01

    Uuest heliplaadist "Brahms J. Hungarian Dances. London Symphony Orchestra, Neeme Järvi. Chandos MC ABTD 1496; CD CHAN 8885 (57 minutes). Brahms J. Hungarian Dances. Staatskapelle Berlin. Otmar Suitner." Denon CD CO- 74597 (53 minutes)

  2. Evaluation of the noise exposure of symphonic orchestra musicians

    Directory of Open Access Journals (Sweden)

    Matilde Alexandra Rodrigues

    2014-01-01

    Full Text Available For musicians, the impact of noise exposure is not yet fully characterized. Some inconsistencies can be found in the methodology used to evaluate noise exposure. This study aims to analyze the noise exposure of musicians in a symphonic orchestra to understand their risk for hearing loss, applying the methodology proposed by ISO 9612:2009. Noise levels were monitored among musicians during the rehearsal of eight different repertoires. Test subjects were selected according to their instrument and position in the orchestra. Participants wore noise dosimeters throughout the rehearsals. A sound meter was used to analyze the exposure of the conductor. The results showed that musicians are exposed to high noise levels that can damage hearing. Brass, woodwind and percussion and timpani musicians were exposed to noise levels in excess of the upper exposure action level of 85 dB (A, while the other instrumental groups had a lower exposure action level of 80 dB (A. Percussion musicians were exposed to high peak noise levels of 135 dB (C. Sound levels varied by instrument, repertoire and position. Octave frequency analyses showed differences among musicians. This study suggests that musicians are at risk for hearing loss. There is a need for more effective guidelines applicable to all countries, which should define standardized procedures for determining musician noise exposure and should allow exposure level normalization to the year, including different repertoires.

  3. Temporal interaction between an artificial orchestra conductor and human musicians

    NARCIS (Netherlands)

    Reidsma, Dennis; Nijholt, Antinus; Bos, Pieter

    2008-01-01

    The Virtual Conductor project concerns the development of the first properly interactive virtual orchestra conductor—a Virtual Human that can conduct a piece of music through interaction with musicians, leading and following them while they are playing. This article describes our motivation for

  4. Women Conductors: A Study of an Italian Major Symphony Orchestra

    African Journals Online (AJOL)

    The assumption was that not being used to be directed by a woman would affect their opinion on the individual's ability and on all women conductors, i.e. if few women are invited to be guest conductors, it must mean that there are few women conductors who are good enough. A survey of 58 musicians interviewed using ...

  5. Noise exposure of musicians of a ballet orchestra

    Directory of Open Access Journals (Sweden)

    Cheng Liang Qian

    2011-01-01

    Full Text Available With over 70 dancers and its own orchestra, The National Ballet of Canada ranks amongst the world′s top dance companies. It performs three seasons annually: fall, winter and summer, plus many shows of Tchaikovsky′s Nutcracker. The 70-strong orchestra plays an average of 360 hours/year including rehearsals and performances. Rehearsals are held at two locations: one in a ballet rehearsal room with little or no absorption, and the other in an acoustically treated location. Performances are held in the Four Seasons Centre for the Performing Arts in Toronto. The present survey was done at the request of the National Ballet, since the musicians complained of excessive sound levels and were concerned about possible hearing losses. The survey was performed using five dosimeters Quest Mod 300 during 10 performances of the ballet Romeo and Juliet by Sergei Prokofiev, deemed as the noisiest in the whole repertoire. Results of the survey indicate that the noise exposure levels from only the orchestra′s activities do not present risk of hearing loss. Exposure due to other musical activities was, however, not included.

  6. Distortion product otoacoustic emission fine structure of symphony orchestra musicians

    DEFF Research Database (Denmark)

    Reuter, Karen; Hammershøi, Dorte

    2006-01-01

    Otoacoustic emissions (OAE) are sounds produced by the healthy inner ear. They can be measured as low-level signals in the ear canal and are used to monitor the functioning of outer hair cells. Many studies indicate that OAE might be a more sensitive measure to detect early noise-induced haring...... losses than pure-tone audiometry. The distortion product otoacoustic emission (DPOAE) fine structure is obtained when the ear is stiumulated by dual tone stimuli using a high frequency resolution. It is characterized by quasi-periodic variations across frequency, as it can be observed in the hearing...

  7. Schmidt. Sinfonie Nr. 1 E-Dur; Strauss. Vier sinfonische Zwischenspiele aus Intermezzo. Detroit Symphony Orchestra, Neeme Järvi / Helge Grünewald

    Index Scriptorium Estoniae

    Grünewald, Helge

    1996-01-01

    Uuest heliplaadist "Schmidt. Sinfonie Nr. 1 E-Dur; Strauss. Vier sinfonische Zwischenspiele aus Intermezzo. Detroit Symphony Orchestra, Neeme Järvi. Chandos/Koch CD 9357 (WD: 68'20") DDD (WD:114'36")

  8. Sibelius: Pohjola's Daughter; Night Ride and Sunrise; Four Legends from Kalevala (Lemminkäinen Suite). Gothenburg Symphony Orchestra, Neeme Järvi / Brian Hunt

    Index Scriptorium Estoniae

    Hunt, Brian

    1997-01-01

    Uuest heliplaadist "Sibelius: Pohjola's Daughter; Night Ride and Sunrise; Four Legends from Kalevala (Lemminkäinen Suite). Gothenburg Symphony Orchestra / Neeme Järvi. Deutsche Grammophon 453 426-2; 70:37 DDD

  9. Is Playing in the Pit Really the Pits?: Pain, Strength, Music Performance Anxiety, and Workplace Satisfaction in Professional Musicians in Stage, Pit, and Combined Stage/Pit Orchestras.

    Science.gov (United States)

    Kenny, Dianna T; Driscoll, Tim; Ackermann, Bronwen J

    2016-03-01

    Typically, Australian orchestral musicians perform on stage, in an orchestra pit, or in a combination of both workplaces. This study explored a range of physical and mental health indicators in musicians who played in these different orchestra types to ascertain whether orchestra environment was a risk factor affecting musician wellbeing. Participants comprised 380 full-time orchestral musicians from the eight major state orchestras in Australia comprised of two dedicated pit orchestras, three stage-only symphonic orchestras, and three mixed stage/pit orchestras. Participants completed a physical assessment and a range of self-report measures assessing performance-related musculoskeletal disorders (PRMD), physical characteristics including strength and perceived exertion, and psychological health, including music performance anxiety (MPA), workplace satisfaction, and bullying. Physical characteristics and performance-related musculoskeletal profiles were similar for most factors on the detailed survey completed by orchestra members. The exceptions were that pit musicians demonstrated greater shoulder and elbow strength, while mixed-workload orchestra musicians had greater flexibility Significantly more exertion was reported by pit musicians when rehearsing and performing. Stage/pit musicians reported less physical exertion when performing in the pit compared with performing on stage. Severity of MPA was significantly greater in pit musicians than mixed orchestra musicians. Pit musicians also reported more frequent bullying and lower job satisfaction compared with stage musicians. There were few differences in the objective physical measures between musicians in the different orchestra types. However, pit musicians appear more psychologically vulnerable and less satisfied with their work than musicians from the other two orchestra types. The physical and psychological characteristics of musicians who perform in different orchestra types have not been adequately

  10. Hearing loss induced by loud music among musicians of symphonic orchestra

    Directory of Open Access Journals (Sweden)

    Tanja Carli

    2012-12-01

    Full Text Available Noise-induced hearing loss is an important public health issue, especially among musicians who are, more than any other occupation, dependent on their hearing. For them, hearing impairment is due to too loud music, the effect of which, if exceeding the limit depending on the individual sensitivity of one’s ear, can be compared with theeffect of noise on the ear. Risk factors for its development are: the type of musical instrument and sound character, the way of playing, music genre or composition, duration of exposure to loud music, sound source and its distance from the ear, intervals of acoustic stimuli, individual factors and the musician’s position in the orchestra. Hearing impairment is greater at higher frequencies; in pure tone audiogram it is shown as notches between 3000 and 6000 Hz and is most frequent in the wind and brass section. Hearing loss is greater among violinists and typically affects the left ear owing to the sound source proximity and their position in the orchestra. The most common health problems take the form of diplacusis, algiacusis and tinnitus, as exposure to the loud acoustic stimulus above 90 dB(A cause damage to the inner ear, the so-called acoustic trauma. Use of personal protective equipment among musicians is low especially because of too much high-frequency attenuation and occlusion effect.

  11. MicroRNAs as new maestro conducting the expanding symphony orchestra of regenerative and reparative medicine

    OpenAIRE

    Sen, Chandan K.

    2011-01-01

    The human genome encodes 1,048 microRNAs (miRNAs). These miRNAs regulate virtually all biological processes. Leaving ignominy on the significance miRNAs behind we are approaching a new era in tissue repair where an ever expanding orchestra of events that enable tissue repair and regeneration seems to be conducted by miRNAs as the maestro. microRNAs are emerging as molecular rheostats that fine-tune and switch regulatory circuits governing tissue repair. Key elements of tissue repair such as s...

  12. MicroRNAs as new maestro conducting the expanding symphony orchestra of regenerative and reparative medicine.

    Science.gov (United States)

    Sen, Chandan K

    2011-05-01

    The human genome encodes 1,048 microRNAs (miRNAs). These miRNAs regulate virtually all biological processes. Leaving ignominy on the significance miRNAs behind we are approaching a new era in tissue repair where an ever expanding orchestra of events that enable tissue repair and regeneration seems to be conducted by miRNAs as the maestro. microRNAs are emerging as molecular rheostats that fine-tune and switch regulatory circuits governing tissue repair. Key elements of tissue repair such as stem cell biology, inflammation, hypoxia-response, and angiogenesis are all under the sophisticated control of a network of specific mRNAs. Embryonic stem cells lacking miRNAs lose their "stemness." Manipulation of specific cellular miRNAs helps enhance reprogramming of somatic cells to an embryonic stem cell-like phenotype helping generate inducible pluripotent stem cells. Expression of miRNAs is subject to control by epigenetic factors. Such control influences the balance between proliferation and differentiation of stem cells. Angiomirs regulate various aspects of angiogenesis, such as proliferation, migration, and morphogenesis of endothelial cells. MiRNAs play a key role in resolution of inflammation. Hypoxia-inducible mRNAs or hypoxamirs suppress mitochondrial respiration, cause cell cycle arrest, and interfere with growth factor signaling. miRNA-210 is a good example in this category that impairs wound closure. As fine tools enabling specific and temporally controlled manipulation of cell-specific miRNAs emerge, miRNA-based therapies hold promise in facilitating tissue repair. Treatment of skin wounds has lower barriers because it lends itself to local delivery of miRNA mimics and antagonizing agents minimizing risks associated with systemic off-target toxicity.

  13. Raid, Kaljo: Symphony No. 2, "Stockholm" / Guy S. Rickards

    Index Scriptorium Estoniae

    Rickards, Guy S.

    1996-01-01

    Uuest heliplaadist "Raid, Kaljo: Symphony No. 2, "Stockholm"; Tubin, Eduard: Elegy for Strings (arr. Raid). Symphony No. 11 (orch. Raid). Estonian State Symphony Orchestra, Arvo Volmer". Koch International Classics 37291-2 (48 minutes:DDD)

  14. Barber. Symphony N 1, Op. 9 / Michael Oliver

    Index Scriptorium Estoniae

    Oliver, Michael

    1991-01-01

    Uuest heliplaadist "Barber. Symphony N 1, Op. 9. The School for Scandal Overture, Op. 5 Beach. Symphony in E minor, Op. 32, "Gaelic". Detroit Symphony Orchestra /Neeme Järvi" Chandes cassette ABTD 1550; CD CHAN 8958 (72 minutes)

  15. Svendsen Symphony No. 2 in B flat / Robert Layton

    Index Scriptorium Estoniae

    Layton, Robert

    1994-01-01

    Uuest heliplaadist "Svendsen Symphony No. 2 in B flat, Op. 15... Stavanger Symphony Orchestra / Grant Llewellyn. Chatsworth CD FCM 1002; Symphony No. 2 - selected comparisons: Gothenburg SO, Järvi (11/87)(BIS) CD 347

  16. The high prevalence of playing-related musculoskeletal disorders (PRMDs) and its associated factors in amateur musicians playing in student orchestras: A cross-sectional study.

    Science.gov (United States)

    Kok, Laura M; Groenewegen, Karlijn A; Huisstede, Bionka M A; Nelissen, Rob G H H; Rietveld, A Boni M; Haitjema, Saskia

    2018-01-01

    Despite the high number of amateur musicians in the general population, little is known about the musculoskeletal health of amateur musicians. Playing a musical instrument is supposed to be a risk factor for the development of musculoskeletal complaints. This study aimed to evaluate playing-related musculoskeletal disorders (PRMDs) among amateur musicians playing in student orchestras. A cross-sectional study. 357 members of eleven Dutch student orchestras across the Netherlands were included in this study. A paper-based questionnaire on PRMDs was used. Sociodemographic characteristics and PRMDs were evaluated using an adaptation of the Nordic Musculoskeletal Questionnaire (NMQ) and the music module of the Disabilities of Shoulder and Hand (DASH) questionnaire. The year prevalence of PRMDs among amateur musicians was 67.8%. Female gender, younger age, higher BMI and playing a string instrument were independently associated with a higher prevalence of PRMDs. The left shoulder was affected more frequently in violinists and violists, whereas the right hand and wrist were more frequently affected in woodwind instrumentalists. Of the subjects with PRMDs during the last week, the score of the music module of the DASH was 18.8 (6.3-31.2). This study is the first to report on PRMDs and its associated factors in a large group of amateur musicians. The prevalence of PRMDs in amateur musicians is high, however the DASH scores reflect a confined impact of these PRMDs on their functioning as a musician. Preventive measures are needed aiming at reducing PRMDs among amateur musicians.

  17. Visual Complaints and Eye Problems in Orchestral Musicians.

    Science.gov (United States)

    Beckers, Henny Jm; van Kooten-Noordzij, Marina Aw; de Crom, Ronald Mpc; Schouten, Jan Sag; Webers, Carroll Ab

    2016-09-01

    To study visual complaints and eye diseases among professional and amateur orchestral musicians in the Netherlands. In this observational study, members from professional and amateur symphony or wind orchestras were asked to complete a questionnaire collecting demographic data, musical, medical, and family history, and data on present visual complaints and/or eye diseases. Questions about playing in the orchestra were also asked. Data from 70 professionals and 48 amateurs showed that most musicians needed glasses or contact lenses for playing in the orchestra (61% of the professionals, 63% of the amateurs). A majority (66% of professionals, 71% of amateurs) had visited an ophthalmologist at least once during their lifetime, and 10% of the professionals and 23% of the amateurs were currently under treatment of an ophthalmologist. Visual complaints while playing in the orchestra were quite common and included poor lighting conditions, problems with reading small notes, blurred vision, tired eyes, and itching or burning eyes. Professional musicians especially reported adverse effects of eye complaints encountered in the orchestra for daily life; 35% got tired earlier and 33% felt that they could not adequately perform their tasks in the orchestra. The results show that visual complaints and eye problems probably are quite common among orchestral musicians and therefore warrant further interest and research.

  18. The high prevalence of playing-related musculoskeletal disorders (PRMDs and its associated factors in amateur musicians playing in student orchestras: A cross-sectional study.

    Directory of Open Access Journals (Sweden)

    Laura M Kok

    Full Text Available Despite the high number of amateur musicians in the general population, little is known about the musculoskeletal health of amateur musicians. Playing a musical instrument is supposed to be a risk factor for the development of musculoskeletal complaints. This study aimed to evaluate playing-related musculoskeletal disorders (PRMDs among amateur musicians playing in student orchestras.A cross-sectional study.357 members of eleven Dutch student orchestras across the Netherlands were included in this study.A paper-based questionnaire on PRMDs was used.Sociodemographic characteristics and PRMDs were evaluated using an adaptation of the Nordic Musculoskeletal Questionnaire (NMQ and the music module of the Disabilities of Shoulder and Hand (DASH questionnaire.The year prevalence of PRMDs among amateur musicians was 67.8%. Female gender, younger age, higher BMI and playing a string instrument were independently associated with a higher prevalence of PRMDs. The left shoulder was affected more frequently in violinists and violists, whereas the right hand and wrist were more frequently affected in woodwind instrumentalists. Of the subjects with PRMDs during the last week, the score of the music module of the DASH was 18.8 (6.3-31.2.This study is the first to report on PRMDs and its associated factors in a large group of amateur musicians. The prevalence of PRMDs in amateur musicians is high, however the DASH scores reflect a confined impact of these PRMDs on their functioning as a musician. Preventive measures are needed aiming at reducing PRMDs among amateur musicians.

  19. Mahler, G. Symphony N 5 / Johnson, Stephen

    Index Scriptorium Estoniae

    Johnson, Stephen

    1991-01-01

    Uuest heliplaadist "Mahler, G. Symphony N 5. Royal Liverpool Philharmonic Orchestra /Sir Charles Mackerras. EMI Eminence MC TC-EMx2164; CD-EMx2164 (70 minutes). Mahler. Symphony N 5. Royal Scottish National Orchestra /Neeme Järvi. Chandos MC ABTO 1454. CD CHAN 8829 (70 minutes). Sellected comparisons: VPO, Bernstein (8/88) New Phil., Barbiralli (11/88)

  20. Grieg: Songs and dramatic works with orchestra. / Alan Blyth

    Index Scriptorium Estoniae

    Blyth, Alan

    1993-01-01

    Uuest heliplaadist "Grieg: Songs and dramatic works with orchestra. Barbara Bonney, Randi Stene, Hakan Hagegard, Ruth Tellefsen, Gothenburg Symphony Chorus and Orchestra, Neeme Järvi." CD 437 519 - 2GH

  1. Rimsky-Korsakov: Symphonies / Robert Cowan

    Index Scriptorium Estoniae

    Cowan, Robert

    1994-01-01

    Uuest heliplaadist "Rimsky-Korsakov: Symphonies No. 1, Op. 1; No. 2 "Antar", Op. 9. Russian State Symphony Orchestra, Evgeni Svetlanov. RCA Victor Red Seal CD 09026 62558-2; Selected comparisons: Symphony No. 1. Gothenburg SO, Järvi (2/89) (DG) 423 604-2GH2; Symphony No. 2. Gothenburg SO, Järvi (2/89) (DG) 423 604-2GH2

  2. United nations Orchestra

    CERN Multimedia

    MusiClub

    MusiClub United nations Orchestra www.ungenevaorchestra.ch An organizing committee has taken the initiative to create an Orchestra of the united nations at Geneva. In the context of this initiative, musicians in the following categories are invited to become members of the Orchestra and the Association: Active or retired staff of International organizations in Geneva; Active or retired employees of Permanent Missions to the United Nations at Geneva; as well as children and spouses of the above persons. For enrolment or for additional information, please contact: un.orchestra@yahoo.com

  3. L. Sumera: Symphony No. 5 / Michael Scott Rohan

    Index Scriptorium Estoniae

    Rohan, Michael Scott

    1997-01-01

    L. Sumera: Symphony No. 5; Music for Chamber Orchestra, In memorian. Malmö Symphony Orchestra / Paavo Järvi. BIS CD-770. 64-35 DDD; Various. Searching for Roots - music from Estonia. Virgin VC 5 43242 2; 71: 34 DDD

  4. Stravinsky: Symphony in E flat, Op. 1. Firebird-Suite (1919 version / Jonathan Swain

    Index Scriptorium Estoniae

    Swain, Jonathan

    1994-01-01

    Uuest heliplaadist "Stravinsky: Symphony in E flat, Op. 1. Firebird-Suite (1919 version). Royal Philharmonic Orchestra / Dalia Atlas; Symphony - comparative versions: SNO, Gibson. SRO, Järvi (2/94)(CHAN) CHAN 9236

  5. Stenhammar: Symphonies - No. 1 in F / Robert Layton

    Index Scriptorium Estoniae

    Layton, Robert

    1995-01-01

    Uuest heliplaadist "Stenhammar: Symphonies - No. 1 in F, No. 2 in G minor, op. 34 Excelsior! Op. 13. Serenade in F, Op. 31. Gothenburg Symphony Orchestra / Neeme Järvi. DG CD 445 857-2 GH 2 (two discs: 139 minutes)

  6. A motivação para o desenvolvimento do trabalho de músicos de orquestra The motivation for developing the work of orchestra musicians

    Directory of Open Access Journals (Sweden)

    Fausto Kothe

    2012-06-01

    Full Text Available A motivação pode interferir na profissão musical, principalmente, pela necessidade constante da prática instrumental. No entanto, a literatura especializada não apresenta com clareza os principais fatores motivacionais para esta atividade profissional. Assim, buscou-se identificar os fatores relacionados à motivação para o desenvolvimento do trabalho de 22 instrumentistas de uma orquestra semi-profissional da região Sul do Brasil. A motivação foi avaliada por meio do questionário de FERREIRA et al. (2006 que apresenta 28 questões que buscam avaliar a motivação para o desenvolvimento das atividades profissionais relacionadas com a organização do trabalho, com realização e poder, com o desempenho e motivação associada ao envolvimento. Para a análise dos dados foi realizada a estatística descritiva por meio de média e desvio padrão e análise fatorial. Os resultados demonstraram que os fatores com a maior pontuação estão associados à motivação para a realização profissional e ao poder dentro da orquestra e com a motivação para o desenvolvimento das atividades profissionais relacionadas com a organização do trabalho. Essas informações se refletem nos resultados da análise fatorial que também indicou ambos os domínios como maior poder de explicação para se ter motivação para o desenvolvimento da prática junto ao instrumento. De forma geral, pode-se dizer que os instrumentistas encontram-se motivados para a realização do trabalho.Motivation can interfere with the music profession, especially by the constant need for instrumental practice. However, the literature does not show clearly the main motivating factors for this professional activity. Thus, we sought to identify the factors related to motivation for developing the work of 22 musicians from an unprofessional orchestra in southern Brazil. The motivation was assessed by questionnaire FERREIRA et al. (2006 with 28 questions that seek to assess the

  7. Alfven. Symphony No 5 in A minor, Op. 54 / Robert Layton

    Index Scriptorium Estoniae

    Layton, Robert

    1994-01-01

    Uuest heliplaadist "Alfven. Symphony No 5 in A minor, Op. 54. The Mountain King - Suite, Gustav II Adolf, Op. 49 - Elegy. Royal Stockholm Philarmonic Orchestra / Neeme Järvi. BIS CD 585 (68 minutes) Recorded in association with Trygg Hansa"

  8. Prokofiev: Symphony No. 6 in E flat, Op. 111 / Jonathan Swain

    Index Scriptorium Estoniae

    Swain, Jonathan

    1994-01-01

    Uuest heliplaadist "Prokofiev: Symphony No. 6 in E flat, Op. 111; Stravinsky:Petrushka (1911 version). Leningrad Philharmonic Orchestra / Evgeny Mravinsky; Prokofiev - selected comparison: SNO, Järvi (7/85)(CHAN) CHAN 8359

  9. Tchaikovsky: Symphony No. 5 in E minor, Op. 64 / Jonathan Swain

    Index Scriptorium Estoniae

    Swain, Jonathan

    1994-01-01

    Uuest heliplaadist "Tchaikovsky: Symphony No. 5 in E minor, Op. 64; Rimsky-Korsakov: Russian Easter Festival Overture, Op. 36. Philharmonia Orchestra / Giuseppe Sinopoli; Overture - selected comparison: Gothenburg SO, Järvi (3/91) DG 429984-2GH

  10. Interrupting the Symphony: Unpacking the Importance Placed on Classical Concert Experiences

    Science.gov (United States)

    Hess, Juliet

    2018-01-01

    The Toronto Symphony Orchestra presents a series of youth concerts each year to introduce and attract younger audiences to the symphony. Music teachers often attend these concerts with students, and the importance of such experiences is frequently emphasised and normalised. This article explores the historical roots of the following relations,…

  11. Chadwick: Symphony No. 3 in F; Barber: Vanessa-Intermezzo / Andrew Achenbach

    Index Scriptorium Estoniae

    Achenbach, Andrew

    1994-01-01

    Uuest heliplaadist "Chadwick: Symphony No. 3 in F; Barber: Vanessa-Intermezzo, Under the Willow Tree. Music for a scene from Shelley, Op. 7. Medea's Meditation and Dance of Vengeance, Op. 23a. Detroit Symphony Orchestra / Neeme Järvi." Chandos CD CHAN 9253

  12. Berwald. Symphonies - No. 1 in G minor, "Sinfonie serieuse" / Robert Layton

    Index Scriptorium Estoniae

    Layton, Robert

    1996-01-01

    Uuest heliplaadist "Berwald. Symphonies - No. 1 in G minor, "Sinfonie serieuse". No. 2 in D, "Sinfonie singuliere". No. 4 in E flat. Gothenburg Symphony Orchestra, Neeme Järvi. DG Masters 445 581-26 MA2 (two discs: 112 minutes: DDD)

  13. Searching for Roots. Pärt: Symphony No. 1, "Polyphonic" / Guy S. Rickards

    Index Scriptorium Estoniae

    Rickards, Guy S.

    1997-01-01

    Uuest heliplaadist "Searching for Roots. Pärt: Symphony No. 1, "Polyphonic". Nekrolog, Op. 3; Tubin: Symphony No. 11; Tüür: Searching for Roots. Insula deserta. Zeitraum. Royal Stockholm Philharmonic Orchestra / Paavo Järvi. Virgin Classics VC5 45212-2 (72 min.:DDD)

  14. Percepção de qualidade do sono e da qualidade de vida de músicos de orquestra Sleep quality and quality of life perception in orchestra musicians

    Directory of Open Access Journals (Sweden)

    Érico Felden Pereira

    2010-01-01

    Full Text Available CONTEXTO: As condições de saúde e trabalho de músicos profissionais têm sido pouco investigadas. OBJETIVOS: Identificar a frequência de baixa qualidade de sono em um grupo de músicos de orquestra, bem como analisar possíveis associações com as variáveis de percepção da qualidade de vida geral. MÉTODO: A qualidade do sono, o cronotipo e a qualidade de vida geral foram avaliados por meio dos questionários de Pittsburgh, Horne-Ostberg e WHOQOL-bref, respectivamente, em 22 músicos (17 homens e cinco mulheres de uma orquestra. RESULTADOS: A baixa qualidade do sono foi identificada em 71%. As dimensões mais associadas à qualidade de sono foram a capacidade para desempenhar as atividades do dia a dia (p = 0,003 e do trabalho (p = 0,004, dor e desconforto (p = 0,006, satisfação com as relações pessoais (p = 0,007 e capacidade de aproveitar a vida (p = 0,008. O domínio físico na análise da qualidade de vida foi o que apresentou maior poder explicativo para a qualidade do sono (34%. O cronotipo e as horas de sono não apresentam associação com a qualidade do sono. CONCLUSÕES: Identificou-se uma alta frequência de baixa qualidade de sono. Medidas para a promoção da qualidade do sono nesta população devem priorizar as variáveis relacionadas à qualidade de vida em seu aspecto físico.BACKGROUND: The health and work conditions of professional musicians have been little investigated. OBJECTIVES: Identify the frequency of poor sleep quality in a group of orchestra musicians and examine possible associations with the variables of perception of overall quality of life. METHOD: The sleep quality, the chronotype and overall quality of life were evaluated by mean questionnaire of Pittsburgh, Horne-Ostberg e WHOQOL-bref, respectively, at 22 musicians (17 men and five women in an orchestra. RESULTS: The prevalence of poor sleep quality was 71%. The dimensions most associated with quality of sleep were the ability to perform

  15. Sound Practice– Improving occupational health and safety for professional orchestral musicians in Australia

    Directory of Open Access Journals (Sweden)

    Bronwen Jane Ackermann

    2014-09-01

    Full Text Available The Sound Practice Project is a five-year study involving baseline evaluation, development and implementation of musician-specific work health and safety initiatives. A cross-sectional population physical and psychological survey and physical assessment were conducted at the same time, with an auditory health assessment conducted later. The results were used to guide the development of a series of targeted interventions, encompassing physical, psychological and auditory health components. This paper provides an overview of the project but focuses on the health findings arising from the cross-sectional survey.377 musicians from the eight professional symphony orchestras in Australia took part in the cross-sectional study (about 70% of eligible musicians. Eighty-four percent (84% of musicians reported past performance-related musculoskeletal disorder (PRMD episodes; 50% were suffering a current PRMD. Of the 63% who returned hearing surveys, 43% believed they had hearing loss, and 64% used earplugs at least intermittently. Noise exposure was found to be high in private practice, although awareness of risk and earplug use in this environment was lower than in orchestral settings. Improved strategic approaches, acoustic screens and recently developed active earplugs were found to provide effective new options for hearing protection. With respect to psychosocial screening, female musicians reported significantly more trait anxiety, music performance anxiety, social anxiety, and other forms of anxiety and depression than male musicians. The youngest musicians were significantly more anxious compared with the oldest musicians. Thirty-three percent (33% of musicians may meet criteria for a diagnosis of social phobia; 32% returned a positive depression screen and 22% for post-traumatic stress disorder. PRMDs and trigger point discomfort levels were strongly associated with increasing severity of psychological issues such as depression and music

  16. Rimsky-Korsakov: Symphony N2 (Symphonic Suite) / Warrack, John

    Index Scriptorium Estoniae

    Warrack, John

    1990-01-01

    Uuest heliplaadist "Rimsky-Korsakov: Symphony N2 (Symphonic Suite), Op. 9, "Antar" Russian Easter Festival Overture, Op.36. Philharmonia Orchestra, Evgeni Svetlanov. Hyperion KA 66399. CDA 66399. Teise sümfoonia esitust võrreldud Neeme Järvi plaadistusega

  17. Seismic Symphonies

    Science.gov (United States)

    Strinna, Elisa; Ferrari, Graziano

    2015-04-01

    The project started in 2008 as a sound installation, a collaboration between an artist, a barrel organ builder and a seismologist. The work differs from other attempts of sound transposition of seismic records. In this case seismic frequencies are not converted automatically into the "sound of the earthquake." However, it has been studied a musical translation system that, based on the organ tonal scale, generates a totally unexpected sequence of sounds which is intended to evoke the emotions aroused by the earthquake. The symphonies proposed in the project have somewhat peculiar origins: they in fact come to life from the translation of graphic tracks into a sound track. The graphic tracks in question are made up by copies of seismograms recorded during some earthquakes that have taken place around the world. Seismograms are translated into music by a sculpture-instrument, half a seismograph and half a barrel organ. The organ plays through holes practiced on paper. Adapting the documents to the instrument score, holes have been drilled on the waves' peaks. The organ covers about three tonal scales, starting from heavy and deep sounds it reaches up to high and jarring notes. The translation of the seismic records is based on a criterion that does match the highest sounds to larger amplitudes with lower ones to minors. Translating the seismogram in the organ score, the larger the amplitude of recorded waves, the more the seismogram covers the full tonal scale played by the barrel organ and the notes arouse an intense emotional response in the listener. Elisa Strinna's Seismic Symphonies installation becomes an unprecedented tool for emotional involvement, through which can be revived the memory of the greatest disasters of over a century of seismic history of the Earth. A bridge between art and science. Seismic Symphonies is also a symbolic inversion: the instrument of the organ is most commonly used in churches, and its sounds are derived from the heavens and

  18. Misura e valutazione del rischio da esposizione al rumore per orchestrali di un teatro lirico nazionale - Measurement and risk assessment of noise exposure for orchestra members of an Italian opera house

    Directory of Open Access Journals (Sweden)

    Diego Annesi

    2017-02-01

    Full Text Available Ad oggi in Letteratura sono presenti pochi studi di settore basati sulla valutazione del rischio rumore nei teatri lirici. Questa condizione si è venuta a creare nonostante in Italia prima il D.Lgs. 195/06, che ha recepito la Direttiva sul rumore 2003/10/CE, e poi le “Linee guida per il settore della musica e delle attività ricreative”, emanate ai sensi dell’art. 198 del D.Lgs. 81/08, obbligano i datori di lavoro a eseguire la valutazione dei rischi. Il presente lavoro riporta i risultati preliminari di uno studio pilota dell’esposizione professionale a rumore dei musicisti dell’orchestra sinfonica di un teatro lirico ita-liano. Sono state effettuate rilevazioni fonometriche su un campione rappresentativo dei componenti dell’orchestra, tramite dosimetri personali e analizzatori in frequenza. Le registrazioni sonore sono state effettuate durante le esecuzioni musicali nella fossa d’orchestra del teatro durante diverse tipologie di rappresentazioni teatrali. ------ To date, in the literature there are few field studies based on the noise risk assessment in opera houses. This condition has come about in spite of the Italian Leg. Decree n. 195/06, which transposed the noise Directive 2003/10/EC, and then the national "Guidelines for the music industry and recreation", issued under Art. 198 of Leg. Decree n. 81/08, oblige employers to perform noise risk assessment. This paper reports the preliminary results of a pilot study of occupational exposure to noise of the symphony orchestra musicians of an Italian opera. Surveys were carried out on a representative sample of members of the orchestra, using personal dosimeters and frequency analyzers. Sound recordings were made during the musical performances in the orchestra pit of the theater during the various types of theatrical performances.

  19. Rock Orchestra Alumni Reflections on the Impact of Participation in "The Lakewood Project"

    Science.gov (United States)

    Koops, Lisa Huisman; Hankins, Elizabeth A.; Scalise, David; Schatt, Matthew D.

    2014-01-01

    The purpose of this mixed-methods study was to explore the phenomenon of participation in a high school rock orchestra from the perspective of alumni. Specific research questions addressed the musicians' reflections on experiences in the rock orchestra and the perceived possible impact on their current musical and professional lives. Survey and…

  20. Rimsky-Korsakov: Symphony N2 (Symphonic Suite), Op. 9 / John Warrack

    Index Scriptorium Estoniae

    Warrack, John

    1990-01-01

    Uuest heliplaadist "Rimsky-Korsakov: Symphony N2 (Symphonic Suite), Op. 9, "Antar" Russian Easter Festival Overture, Op.36. Philharmonia Orchestra, Evgeni Svetlanov" Hyperion KA 66399. CDA 66399. Teise sümfoonia esitust võrreldud Neeme Järvi plaadistusega

  1. Missing Faces from the Orchestra: An Issue of Social Justice?

    Science.gov (United States)

    DeLorenzo, Lisa C.

    2012-01-01

    There is a surprising lack of black and Latino musicians in major orchestras in the United States as well as in other venues for classical music. Similarly, many American high school performing ensembles reflect the same underrepresentation. This article examines the literature on race, socioeconomic factors, and urban teaching and provides…

  2. The Virtual Orchestra: Technical and Creative Issues

    Science.gov (United States)

    BIANCHI, F. W.; CAMPBELL, R. H.

    2000-04-01

    The interactive multi-channel computer music system known as the Virtual Orchestra has been used several times in professional opera and theater as an alternative to a live pit orchestra. The technical issues associated with this emerging technology, and the logistical problems of implementing it are discussed. In addition, this paper describes the equally important issues regarding the creative impact this will have on the industry. In particular, this paper explores the role of the musician/technologist and suggests that many of the fundamental premises of opera production will change as the industry begins to retool. This would include the way opera is rehearsed and performed, how it is created and disseminated, and how it will adjust to changing demographics.

  3. Understanding Your Band, Orchestra, and Choir Students: Personality Similarities and Differences and What They Mean for You

    Science.gov (United States)

    MacLellan, Christin Reardon

    2011-01-01

    Stereotypes about the personalities of musicians, which have evolved over time, seem to direct our perception of musical experiences that take place in different ensembles. This article presents the stereotypes often associated with musicians' personalities and examines eight personality trends of high school band, orchestra, and choir students…

  4. Eestisse saabub Cinematic Orchestra

    Index Scriptorium Estoniae

    2003-01-01

    Briti nu-jazzi viljeleva ansambli Cinematic Orchestra kontsertidest Tartus Vanemuise kontserdimajas 24. sept. ja Tallinnas Sakala keskuses 25.sept. kontserdiagentuuri FBI üritusteseeria "Jazz'n Motion" raames. Esitletakse grupi viimaste albumit "Man With A Movie Camera", mis on muusika Vene režissööri Dziga Vertovi samanimelisele avangardsele ja dokumentaalsele tummfilmile aastast 1929

  5. Art and Health: Frequency of Musculoskeletal Symptoms in Musicians of the Symphonic Orchestra of the State University of Londrina Arte e Saúde: Frequência de Sintomas Músculo-Esqueléticos em Músicos da Orquestra Sinfônica da Universidade Estadual de Londrina

    Directory of Open Access Journals (Sweden)

    Thiago Zoratti Abelha

    2004-10-01

    Full Text Available This study had the purpose of determining the frequency of musculoskeletal symptoms in musicians of the Symphonic Orchestra of the State University of Londrina. 45 musicians took part in this study answering a self-administered questionnaire with the following aspects: personal data, job-factor survey, symptom related to work, treatment and its consequences. As for the analysis of the variables the quisquare Test was used with Yates correction and the Test of Fisher. Of the 45 musicians studied, 82,2% were men and with an average age of 39,56 years old. Of all the researched musicians, 77,8% reported the presence of musculoskeletal symptoms during the last twelve months and 71,1% in the last seven days. The highest prevalence was in the following anatomical areas: shoulders, neck, spine, hands and wrists. The present study found a high prevalence of musculoskeletal symptoms in musicians who play string and wind instruments. Due to the symptoms, 33,3% of the professionals lost days of work. The present study found a high prevalence of musculoskeletal symptoms not only during the last twelve months but also during the last seven days that preceded the answering of the questionnaire, mainly in the spine and shoulders area. These symptoms can be related to physical and emotional loads. Taking the results into account, the elaboration and implantation of strategies to soften the workload and to avoid disorders are necessary. Este estudo teve o propósito de verificar a freqüência de sintomas músculo-esqueléticos em músicos da Orquestra Sinfônica da Universidade Estadual de Londrina. Participaram do estudo 45 músicos que responderam um questionário auto-aplicável, que trata dos seguintes aspectos: dados pessoais, atividades profissionais, sintomatologia relacionada ao trabalho, tratamento realizado e conseqüências da sintomatologia. Para a análise das variáveis, foram utilizados o Teste de qui-quadrado com correção de Yates e o Teste de

  6. Solar System Symphony: Combining astronomy with live classical music

    Science.gov (United States)

    Kremer, Kyle; WorldWide Telescope

    2017-01-01

    Solar System Symphony is an educational outreach show which combines astronomy visualizations and live classical music. As musicians perform excerpts from Holst’s “The Planets” and other orchestral works, visualizations developed using WorldWide Telescope and NASA images and animations are projected on-stage. Between each movement of music, a narrator guides the audience through scientific highlights of the solar system. The content of Solar System Symphony is geared toward a general audience, particularly targeting K-12 students. The hour-long show not only presents a new medium for exposing a broad audience to astronomy, but also provides universities an effective tool for facilitating interdisciplinary collaboration between two divergent fields. The show was premiered at Northwestern University in May 2016 in partnership with Northwestern’s Bienen School of Music and was recently performed at the Colburn Conservatory of Music in November 2016.

  7. Orchestrating Your Cloud Orchestra

    OpenAIRE

    Hindle, Abram

    2015-01-01

    Cloud computing potentially ushers in a new era of computer music performance with exceptionally large computer music instruments consisting of 10s to 100s of virtual machines which we propose to call a `cloud-orchestra'. Cloud computing allows for the rapid provisioning of resources, but to deploy such a complicated and interconnected network of software synthesizers in the cloud requires a lot of manual work, system administration knowledge, and developer/operator skills. This is a barrier ...

  8. Gade: Symphonies. Copenhagen Collegium Musicum / Robert Layton

    Index Scriptorium Estoniae

    Layton, Robert

    1994-01-01

    Uuest heliplaadist "Gade: Symphonies. Copenhagen Collegium Musicum. Michael Schonwandt.Marco Polo Dacapo CD DCCD 9201/2; Comparative versions: Symphony No. 1. Stockholm Sinf. / Järvi (11/87) BIS CD 339; Symphony No. 2.Stockholm Sinf. / Järvi (12/87) BIS CD 355; Symphony No. 4. Stockholm Sinf. / Järvi" (7/87) BIS CD 338; Symphony No. 6. Stockholm Sinf. / Järvi (12/87) BIS CD 356

  9. A symphony of data at LHCb

    CERN Multimedia

    2008-01-01

    Like musical instruments in an orchestra, the main difficulty with the many detectors of LHCb is coaxing them into playing in harmony. On 8 February 2008, for the first time, the LHCb control room team managed to extract a symphony of data from an almost complete ensemble of LHCb detectors. The LHCb control room team examining the data read out from the LHCb detectors. General view of the LHCb detector components.Now that all the detectors of LHCb are installed in the cavern they can begin to play a tune. The week of 4 February was commissioning week for the LHCb control room, when, for the first time, data from the majority of the sub-detectors (VELO, RICH 1, RICH 2, ECAL, HCAL, MUON, L0Calo and L0DU) was read out, controlled from a single window on the main computer. Sixty electronic boards, which read out the fragments of triggered events, were used during the readout at a frequency of 100 Hz. As not all of the boards ...

  10. The Orchestra as a Laboratory

    DEFF Research Database (Denmark)

    Paunova, Minna; Velikova, Silviya Svejenova

    with learning in these and other organizations. Zooming in on a critical case of a performance arts’ organization–an orchestra-cum-laboratory–our study seeks to advance understanding of generative forms of organizing for individual and organizational learning and creativity. Unlike traditional orchestras...... for which performance is an end and rehearsing a means, for the orchestra-cum-laboratory rehearsing is an end in itself, satisfying musicians’ drives to learn and create. We are interested to advance understanding of why and how a creative collective operates as a learning-driven performance arts...... organization, and to what consequences. A strategy of in-betweenness, namely organizing in between an orchestra and a laboratory, is adopted to find balance between learning and performing. Yet, in-betweenness is not without its tensions. Our study demonstrates how orchestra members’ growth needs lead them...

  11. The Orchestra as a Laboratory

    DEFF Research Database (Denmark)

    Paunova, Minna; Velikova, Silviya Svejenova

    2017-01-01

    with learning in these and other organizations. Zooming in on a critical case of a performance arts’ organization–an orchestra-cum-laboratory–our study seeks to advance understanding of generative forms of organizing for individual and organizational learning and creativity. Unlike traditional orchestras...... for which performance is an end and rehearsing a means, for the orchestra-cum-laboratory rehearsing is an end in itself, satisfying musicians’ drives to learn and create. We are interested to advance understanding of why and how a creative collective operates as a learning-driven performance arts...... organization, and to what consequences. A strategy of in-betweenness, namely organizing in between an orchestra and a laboratory, is adopted to find balance between learning and performing. Yet, in-betweenness is not without its tensions. Our study demonstrates how orchestra members’ growth needs lead them...

  12. Underutilization of worker's compensation insurance among professional orchestral musicians.

    Science.gov (United States)

    Chimenti, Ruth L; Van Dillen, Linda R; Prather, Heidi; Hunt, Devyani; Chimenti, Peter C; Khoo-Summers, Lynnette

    2013-03-01

    Orchestral musicians commonly have playing-related symptoms (PRS) but few use worker's compensation (WC) insurance for assessment and treatment. The purpose of this study was to examine the frequency of, and factors related to, filing a WC claim among musicians. An online questionnaire was completed by 261 members of the International Conference of Symphony and Opera Musicians (ICSOM). The responses were analyzed to describe the frequency and type of injuries, perceived cause of PRS, and severity of injury in musicians who did and did not file a WC claim. Of the musicians, 93% reported PRS in the 12 months prior to the study. Only 9 musicians filed WC claims during their careers, and all claims were for upper extremity injuries. The most frequent reason for not filing a WC claim was insufficient severity. Yet among musicians describing their PRS as not severe enough for a WC claim, 47% had symptoms for >15 minutes after playing and 16% had symptoms that interfered with daily activities. These data suggest there is frequent under-reporting of injuries to WC among professional orchestral musicians. Although most musicians reported PRS that persisted after playing, the most common reason for not filing a WC claim was insufficient severity of symptoms perceived by the musicians. Future research should focus on clearly defining severity for PRS-related injuries and determining when treatment for overuse syndromes should be paid for through the WC system.

  13. Investigations of Orchestra Auralizations Using the Multi-Channel Multi-Source Auralization Technique

    DEFF Research Database (Denmark)

    Vigeant, Michelle; Wang, Lily M.; Rindel, Jens Holger

    2008-01-01

    a multi-channel multi-source auralization technique, involving individual five-channel anechoic recordings of each instrumental part of two symphonies. In the first study, these auralizations were subjectively compared to orchestra auralizations made using (a) a single omni-directional source, (b......) a surface source, and (c) single-channel multi-source method. Results show that the multi-source auralizations were rated to be more realistic than the surface source ones and to have larger source width than the single omni-directional source auralizations. No significant differences were found between......Room acoustics computer modeling is a tool for generating impulse responses and auralizations from modeled spaces. The auralizations are commonly made from a single-channel anechoic recording of solo instruments. For this investigation, auralizations of an entire orchestra were created using...

  14. Experiencing Earth's inaudible symphony

    Science.gov (United States)

    Marlton, Graeme; Charlton-Perez, Andrew; Harrison, Giles; Robson, Juliet

    2017-04-01

    Everyday the human body is exposed to thousands of different sounds; smartphones, music, cars and overhead aircraft to name a few. There are some sounds however which we cannot hear as they are below our range of hearing, sound at this level is known as infrasound and is of very low frequency. Such examples of infrasound are the sounds made by glaciers and volcanos, distant mining activities and the sound of the ocean. These sounds are emitted by these sources constantly all over the world and are recorded at infrasound stations, thus providing a recording of Earth's inaudible symphony. The aim of this collaboration between artists and scientists is to create a proof of concept immersive experience in which members of the public are invited to experience and understand infrasound. Participants will sit in an installation and be shown images of natural infrasound sources whilst their seat is vibrated at with an amplitude modulated version of the original infrasound wave. To further enhance the experience, subwoofers will play the same amplitude modulated soundwave to place the feeling of the infrasound wave passing through the installation. Amplitude modulation is performed so that a vibration is played at a frequency that can be felt by the human body but its amplitude varies at the frequency of the infrasound wave. The aim of the project is to see how humans perceive sounds that can't be heard and many did not know were there. The second part of the project is educational in which that this installation can be used to educate the general public about infrasound and its scientific uses. A simple demonstration for this session could be the playing of amplitude modulated infrasound wave that can be heard as opposed to felt as the transport of an installation at this is not possible and the associated imagery.

  15. The Orchestra as a Laboratory

    DEFF Research Database (Denmark)

    Paunova, Minna; Velikova, Silviya Svejenova

    and their work under pressure. While their resemblance with bureaucratic and professional service organizations has been acknowledged, they have been found also akin to coordinated internal networks of multiple identities (Glynn, 2000; Karmowska & Child, 2014). However, scholars have depicted orchestras...... collectives, such as teams in management and education, have demonstrated interesting tensions between learning and performing (Bunderson & Suttcliffe, 2003; Paunova & Lee, 2016)....

  16. Is the audiologic status of professional musicians a reflection of the noise exposure in classical orchestral music?

    Science.gov (United States)

    Emmerich, Edeltraut; Rudel, Lars; Richter, Frank

    2008-07-01

    The sound in classical orchestral music is louder than noise emissions allowed by national rules in industry. We wanted to assess the audiologic status of professional musicians at different ages of their careers and to look for a coherence of declined hearing ability and the sound emissions in order to substantiate advices for hearing protection and occupational medicine in musicians. Data from questionnaires (anamnestic data on sound exposure in profession and leisure times, use of hearing protection, self-evaluation of hearing function and hearing deficits), audiometric data and amplitudes of OAE were evaluated from 109 professional musicians aged 30-69 years from three major German orchestras and from 110 students of an academy of music (aged 11-19 years). Sound emissions of the whole orchestra and of single instruments/instrument groups were measured at the orchestra stages and pits during rehearsals and performances. None of the musicians was engaged in noisy hobbies and only a few used hearing protectors regularly. More than 50% of the musicians had a hearing loss of 15 dB(A) and more. Highest losses were found among the strings and the brass players. DPOAE amplitudes coincidently declined with the duration of performing music in the orchestras. Professional musicians aged older than 60 years had a significantly greater hearing loss at 4 and 6 kHz than those aged 30-39 years. Among the strings in one orchestra a dominant hearing deficit in the left ears was observed. Musicians need the same health care for their hearing as workers in noisy industry. A better education on the hearing hazards (use of hearing protectors) as well as sound protection in the rehearsal rooms is necessary. Hearing loss in professional musicians should be accepted as an occupational disease.

  17. On detecting the playing/non-playing activity of musicians in symphonic music videos

    NARCIS (Netherlands)

    Bazzica, A.; Liem, C.C.S.; Hanjalic, A.

    2016-01-01

    Information on whether a musician in a large symphonic orchestra plays her instrument at a given time stamp or not is valuable for a wide variety of applications aiming at mimicking and enriching the classical music concert experience on modern multimedia platforms. In this work, we propose a novel

  18. Identità individuale e prassi musicale in contesti interculturali. L’esperienza della West-Eastern Divan Orchestra

    Directory of Open Access Journals (Sweden)

    DIANA, Rosario

    2012-11-01

    Full Text Available [Individual identity and musical practice in intercultural contexts. The experience of the West-Eastern Divan Orchestra]. This article focuses on the famous youth orchestra founded in 1999 by Daniel Barenboim and Edward Said. Every year, young musicians from Israel and Arab countries together spend a period of training and playing in an orchestra that holds concerts all over the world. According Barenboim and Said this promotes mutual understanding between people coming from geopolitical and national realities in conflict. This article focuses on the philosophical and intercultural meaning of this experience and interprets it according to the theory of multiple identities by Amartya Sen and the specificity of the language of music.

  19. Transfinite harmonization by taking the dissonance out of the quantum field symphony

    International Nuclear Information System (INIS)

    El Naschie, M.S.

    2008-01-01

    Particle physics may be likened to a magnificent symphony. Alas due to some instrumental defects, wrong reading of the notes and a lack of virtuosity of some members of the orchestra, a non-negligible number of dissonants are making it sound less than perfect. By means of the specific example of renormalization groups applied to GUT unification, the present work aims at illustrating the point we just made and showing how a simplictic transfinite adjustment of our formulas lead to harmonization and consequently considerable simplification of well known theories which goes as far as facilitating the discovery of new connections and the solution of many problems which were previously thought very hard, if at all possible, to solve

  20. Rap-Interacting Proteins are Key Players in the Rap Symphony Orchestra

    Directory of Open Access Journals (Sweden)

    Xiao-Xi Guo

    2016-06-01

    Full Text Available Rap, a member of the Ras-like small G-protein family, is a key node among G-protein coupled receptors (GPCR, receptor tyrosine kinases (RTKs, ion channels and many other downstream pathways. Rap plays a unique role in cell morphogenesis, adhesion, migration, exocytosis, proliferation, apoptosis and carcinogenesis. The complexity and diversity of Rap functions are tightly regulated by Rap-interacting proteins such as GEFs, GAPs, Rap effectors and scaffold proteins. These interacting proteins decide the subcellular localization of Rap, the interaction modes with downstream Rap effectors and tune Rap as an atypical molecular conductor, coupling extra- and intracellular signals to various pathways. In this review, we summarize four groups of Rap-interacting proteins, highlight their distinctions in Rap-binding properties and interactive modes and discuss their contribution to the spatiotemporal regulation of Rap as well as the implications of targeting Rap-interacting proteins in human cancer therapy.

  1. Hearing and hearing conservation practices among Australia′s professional orchestral musicians

    Directory of Open Access Journals (Sweden)

    Ian O′Brien

    2014-01-01

    Full Text Available Orchestral musicians are an at-risk population for noise-induced hearing loss. Following strategic approaches to mitigate exposure, many must use earplugs to safeguard their hearing, although reported usage rates are poor. Australia has progressive hearing conservation programs within many of its orchestras, yet little is known of earplug usage rates, abilities with earplugs or self-perceived hearing loss in this population. To help direct and inform future approaches to hearing conservation in Australia′s orchestras a questionnaire assessing hearing conservation behaviors and the prevalence of self-perceived hearing loss was distributed. A total of 580 musicians across eight professional orchestras were surveyed, with 367 completed surveys (63% returned. Eighty percent of respondents reported a risk of hearing damage in the orchestra, 64% used earplugs of some type at least some of the time and 83% found this use difficult/impossible. Forty-three percent reported a hearing loss, including 54% in pit orchestras and 46% of those ≤50 years of age. Brass players were least likely to use earplugs, most likely to report usage difficulties and most likely of those ≤50 years of age to report a hearing loss. While earplug usage rates in Australia are encouraging and may be linked to hearing conservation measures in the orchestras, the widespread difficulty reported with the use of these earplugs, the prevalence of self-reported hearing loss and the continued vulnerability of those most at-risk indicate improvements in both earplug design and further education for musicians are required to progress hearing conservation options for this population.

  2. Pain among professional orchestral musicians: a case study in body culture and health psychology.

    Science.gov (United States)

    Nygaard Andersen, Lotte; Roessler, Kirsten K; Eichberg, Henning

    2013-09-01

    Professional musicians experience high rates of musculoskeletal pain, but only few studies have investigated how this pain is accepted by musicians. To investigate the culture of pain and to explore how professional musicians experience and cope with pain. Ten semi-structured in-depth interviews were conducted; 8 with musicians and 2 with professional elite athletes. In addition, a concert and two rehearsals were observed. The audiotaped interviews were transcribed verbatim. Configurational analysis was used to interpret the material as a whole. Musicians often experience pain as a consequence of prolonged repetitive work early in their career. Such pain is compounded by the lack of breaks during concerts and rehearsals. Orchestras seldom give opportunities for adjustments required for individual instruments, breaks, or action to prevent pain. Musicians' strong sense of coherence and the experience of pain as integral to their identity have encouraged musicians to develop flexible coping strategies. Ignoring pain and potential damage is an accepted concomitant to striving for perfection. A musician does not focus on pain but on the music. For the musician, pain has a significance beyond being something that can simply be removed by a practitioner. Pain tells both an individual story and a cultural story that is crying out to be heard.

  3. Music and its Impact on Musicians in Broadcasting Company

    Directory of Open Access Journals (Sweden)

    Mina Milani

    1999-03-01

    Full Text Available Sound is an inseparable part of human life and provides us with lovely experiences such as listening to music. Musicians from classical orchestras to rock groups are exposed to high decibel of sounds. Musicians playing percussion musical instruments are exposed to high level of impact noise and players of Brass musical instruments are highly exposed to noise peaks higher than 100dB. Woodwind players are enduring the risk of posing directly in front of Brass players. Based on the above-mentioned risks for hearing loss clinical consideration of noise induced hearing loss in musicians is highly required. In the current study we were aimed at examining hearing stratus of classic and traditional musicians by means of pure tone audiometry in Islamic Republic of Iran Broadcasting. 33 subjects were evaluated aged between 22 to 59 years old. Their musical experience was variable between 6 to 45 years. The study demonstrated that most of the musicians in this study suffered bilateral high frequency hearing loss with a notch in the frequency range of 4-8 KHz.

  4. Questionnaire investigation of musicians’ use of hearing protectors, self reported hearing disorders and their experience of their working environment

    DEFF Research Database (Denmark)

    Laitinen, Heli; Poulsen, Torben

    2008-01-01

    Musicians in symphony orchestras are exposed to harmful sound levels. Although research shows that industrial workers have a higher propensity to noise induced hearing loss, musicians can also develop a hearing loss from noise exposure. Furthermore, musicians can suffer from tinnitus, hyperacusis...

  5. Job-Related Stressors of Classical Instrumental Musicians: A Systematic Qualitative Review.

    Science.gov (United States)

    Vervainioti, A; Alexopoulos, E C

    2015-12-01

    Epidemiological studies among performing artists have found elevated stress levels and health effects, but scarcely the full range of stressors has been reported. We review here the existing literature on job-related stressors of classical instrumental musicians (orchestra musicians). PubMed, Google Scholar and JSTOR databases were screened for relevant papers indexed up to August 2012. A total of 122 papers was initially identified which, after exclusion of duplicates and those not meeting eligibility criteria, yielded 67 articles for final analysis. We identified seven categories of stressors affecting musicians in their everyday working lives: public exposure, personal hazards, repertoire, competition, job context, injury/illness, and criticism, but with interrelated assigned factors. The proposed categories provide a framework for future comprehensive research on the impact and management of musician stressors.

  6. Sa’Unine String Orchestra, Orkes Geseknya Indonesia

    Directory of Open Access Journals (Sweden)

    Ranti - Rachmawanti

    2012-04-01

    Full Text Available ABSTRACT   This article explains the result of Sa’Unine String Orchestra as one of Indonesian orchestras in popular culture. Main idea of this research is to uncover and describe the characteristic, func- tion, and role of Sa’Unine String Orchestra within the popular culture in Indonesia. This research used qualitative method with ethnographical approaches to identify all facts that discovered during research. The conclusions of this research show that Sa’Unine String Orchestra moves in two ways, there are; the idealism which had a vision to create a real Indonesian string orchestra and a part of music industry. At the end, these two ways are connected to each other because of the earnings of those. Music industry becomes a support factor which create the idealism of Sa’Unine String Or- chestra to be an Indonesian String Orchestra.   Keywords: String Orchestra, Music, Popular Culture.

  7. Starting a Community Musical Theatre Orchestra

    Science.gov (United States)

    Sorenson, Burke

    2007-01-01

    Musical theatre is one of the great genres of music, yet very few community theatres use live music to accompany their productions. Sadly, many community theatres that formerly employed pit orchestras are replacing them with electronic music. Some producers would welcome live music, but they worry about the potential cost. There are so many…

  8. Wherefore the Musicians?

    Science.gov (United States)

    Gaztambide-Fernandez, Ruben

    2010-01-01

    This essay offers a critique of the dominant music education paradigm by challenging the myth of the musician as the locus of music making. Exploring the concept of the "musician" through three different ways of conceptualizing the arts, the essay offers a strategy for recasting the fundamental assumptions that underlie music education as a…

  9. Cognitive abilities of musicians.

    Science.gov (United States)

    Giovagnoli, A R; Raglio, A

    2011-10-01

    Playing music may involve different cognitive domains, but previous studies of musicians and patients with brain lesions have reported inconsistent associations between music performances and other cognitive functions. Fine musical performance may be associated with high executive and control functions. 21 skilled musicians and 21 age- and education-matched healthy controls with no specific musical competence were compared on attentive, executive, linguistic, perceptual, praxic, memory, and theory of mind functions, using standardized neuropsychological tests. No differences between the musicians and controls, music composers and performers, or between soloists or orchestral players were observed. In musicians, there was no correlation between the test scores and amount of music education. Findings based on these musician groups, carefully evaluated, suggest further exploration of associations of distinct components of music comprehension and expression with different cognitive functions and behavioral aspects.

  10. Pain among professional orchestral musicians

    DEFF Research Database (Denmark)

    Nygaard Andersen, Lotte; Roessler, Kirsten K; Eichberg, Henning

    2013-01-01

    Professional musicians experience high rates of musculoskeletal pain, but only few studies have investigated how this pain is accepted by musicians.......Professional musicians experience high rates of musculoskeletal pain, but only few studies have investigated how this pain is accepted by musicians....

  11. Symphony: SirsiDynix's Flagship Integrated Library System--A Horizon User's Perspective

    Science.gov (United States)

    Khurshid, Zahiruddin; Al-Baridi, Saleh

    2009-01-01

    At the end of 2007, SirsiDynix introduced the first version of Symphony, its new flagship Integrated Library System (ILS). This article begins with a look at the evolution of Symphony, user reactions to Symphony, and Symphony's design and functionality. The authors, along with a team of librarians from various functional areas, have completed…

  12. Chopin: Concerto for piano and orchestra No. 2 in F minor / Christopher Headington

    Index Scriptorium Estoniae

    Headington, Christopher

    1992-01-01

    Uuest heliplaadist "Chopin: Concerto for piano and orchestra No. 2 in F minor, Op. 21; Schumann: Concerto for piano and orchestra in A minor Op. 54. Philharmonia Orchestra, Neeme Järvi". Chandos CHAN9061 (62 minutes:DDD)

  13. Die Hard as an Emotion Symphony

    DEFF Research Database (Denmark)

    Grodal, Torben Kragh

    2017-01-01

    The article will analyze how action films use different emotional sources of arousal to create narrative tension and suspense in the PECMA flow i.e. the mental flow of perceptions that activate emotions, cognition and action as described in Grodal 2009. It will analyze how different emotions link...... to each other or contrast each other in the narrative flow that you metaphorically might call an emotion symphony. The flow may create a time-out experience due to the way in which the action-oriented flow recruits consciousness in full, similar to the way in which music creates flow experiences...

  14. Contact dermatitis and other skin conditions in instrumental musicians

    Directory of Open Access Journals (Sweden)

    Freitag Marcus

    2004-04-01

    investigations have exclusively been performed on orchestra musicians, though the prevalence of instrument-related skin conditions in other musician groups (e.g., jazz and rock musicians is also of interest. The practicing clinician should be aware of the special dermatologic problems unique to the musical instrumentalist. Moreover awareness among musicians needs to be raised, as proper technique and conditioning may help to prevent affection of performance and occupational impairment.

  15. Landmark lecture on cardiology: the quest for the ultimate team in health care - what we can learn from musicians about leadership, innovation, and teambuilding?

    Science.gov (United States)

    Penny, Daniel J

    2017-12-01

    The importance of teamwork is being increasingly recognised in healthcare. Nonetheless, it is equally recognised that teamwork is difficult. In this article, I explore whether we can learn lessons from musicians, orchestras, and conductors as we build our teams. The evolution of the role of the conductor provides useful lessons on leadership and the evolving role of the members of the orchestra on how team members can contribute to a shared outcome. The uncertainty of jazz provides useful lessons for innovation in an increasingly turbulent healthcare environment.

  16. Concert halls with strong and lateral sound increase the emotional impact of orchestra music.

    Science.gov (United States)

    Pätynen, Jukka; Lokki, Tapio

    2016-03-01

    An audience's auditory experience during a thrilling and emotive live symphony concert is an intertwined combination of the music and the acoustic response of the concert hall. Music in itself is known to elicit emotional pleasure, and at best, listening to music may evoke concrete psychophysiological responses. Certain concert halls have gained a reputation for superior acoustics, but despite the continuous research by a multitude of objective and subjective studies on room acoustics, the fundamental reason for the appreciation of some concert halls remains elusive. This study demonstrates that room acoustic effects contribute to the overall emotional experience of a musical performance. In two listening tests, the subjects listen to identical orchestra performances rendered in the acoustics of several concert halls. The emotional excitation during listening is measured in the first experiment, and in the second test, the subjects assess the experienced subjective impact by paired comparisons. The results showed that the sound of some traditional rectangular halls provides greater psychophysiological responses and subjective impact. These findings provide a quintessential explanation for these halls' success and reveal the overall significance of room acoustics for emotional experience in music performance.

  17. From "Hack to Hallé"--Making a Robot Orchestra for the Hallé Orchestra

    Science.gov (United States)

    Moseley, Ainsley; White, Stephanie; Knowles, Mike

    2017-01-01

    As part of the celebration of Manchester being the European City of Science 2016, schools across the City were invited to take part in a Citizen-Engineering project, which set out a quest to make a recycled robot orchestra. It is a unique project, which is an experiment itself--to bring people together to create, collaborate and care for the…

  18. Liszt. Concertos for Piano and Orchestra / Bryce Morrison

    Index Scriptorium Estoniae

    Morrison, Bryce

    1995-01-01

    Uuest heliplaadist "Liszt. Concertos for Piano and Orchestra - Nr. 1 in E flat, S124, Nr. 2 in a, S125. Mazeppa S100. Les Preludes, S97. Suisse Romande Orchestra, Neeme Järvi." Chandos CD CHAN 9360 (72 minutes)

  19. A Geologic Symphony: Science, Artistic Inspiration and Community Engagement in Jeffrey Nytch's Symphony No 1: Formations

    Science.gov (United States)

    Nytch, J.

    2017-12-01

    While the natural world has inspired works of visual art and music for centuries, examples of music being created as a direct expression of scientific processes or principles are relatively rare. In his 2013 work, Symphony No. 1: Formations, composer Jeffrey Nytch created a work that explicitly communicated the geologic history of the Rocky Mountain west through a musical composition. Commissioned by the Geological Society of America and premiered at the GSA's 125th Anniversary meeting, the symphony is more than merely inspired by the Rocky Mountains; rather, specific episodes of geologic history are depicted in the music. Moreover, certain processes such as metamorphosis, erosion, vulcanism, plate tectonics, and the relative duration of geologic time guided the structure and form of the music. This unique approach to musical composition allowed the work to play a novel and potent role in community engagement and education, both at the premiere performances in Colorado and subsequent performances of the symphony elsewhere. This project is thus a powerful example of how the arts can help illuminate scientific principles to the general public, in turn engaging them and helping to establish a more personal connection to the natural world around them.

  20. Social transformation of two students in an El Sistema-inspired orchestra program

    Directory of Open Access Journals (Sweden)

    Christine D’Alexander

    2016-07-01

    Full Text Available In recent years there has been a substantial increase in El Sistema-inspired programs for young musicians. An overwhelming majority of these programs across the USA are centered in underserved communities where access to instrumental music training would otherwise be sparse. Most often, this is due to budget cuts partially or completely being wiped off from school curricula, or the financial cost associated with instrumental lessons. These programs, often free of cost to families, consist of musical training several days a week in small and large group classes, and claim to promote social change amongst these children’s lives. It is of importance to carefully study if, and how, these young musicians believe their lives are transforming through participation in these El Sistema-inspired programs, and if in fact, social change is occurring. This article reports on a multiple case study which sought to dive deeper into the lives of two children taking part in one El Sistema-inspired orchestral program located in Los Angeles, California. The study focused on the influence and impact this program has had on the lives of students, the exploration and formation of their beliefs surrounding musical learning, as well as experiences they share both as individuals and members of the orchestra.

  1. A Prospective Evaluation of Duplex Ultrasound for Thoracic Outlet Syndrome in High-Performance Musicians Playing Bowed String Instruments

    Science.gov (United States)

    Adam, Garret; Wang, Kevin; Demaree, Christopher J; Jiang, Jenny S; Cheung, Mathew; Bechara, Carlos F; Lin, Peter H

    2018-01-25

    Thoracic outlet syndrome (TOS) is a neurovascular condition involving the upper extremity, which is known to occur in individuals who perform chronic repetitive upper extremity activities. We prospectively evaluate the incidence of TOS in high-performance musicians who played bowed string musicians. Sixty-four high-performance string instrument musicians from orchestras and professional musical bands were included in the study. Fifty-two healthy volunteers formed an age-matched control group. Bilateral upper extremity duplex scanning for subclavian vessel compression was performed in all subjects. Provocative maneuvers including Elevated Arm Stress Test (EAST) and Upper Limb Tension Test (ULTT) were performed. Abnormal ultrasound finding is defined by greater than 50% subclavian vessel compression with arm abduction, diminished venous waveforms, or arterial photoplethysmography (PPG) tracing with arm abduction. Bowed string instruments performed by musicians in our study included violin (41%), viola (33%), and cello (27%). Positive EAST or ULTT test in the musician group and control group were 44%, and 3%, respectively ( p = 0.03). Abnormal ultrasound scan with vascular compression was detected in 69% of musicians, in contrast to 15% of control subjects ( p = 0.03). TOS is a common phenomenon among high-performance bowed string instrumentalists. Musicians who perform bowed string instruments should be aware of this condition and its associated musculoskeletal symptoms.

  2. METHODOLOGICAL PRINCIPLES OF FORMING REPERTOIRE OF STUDENTS’ FOLK INSTRUMENTAL ORCHESTRA

    Directory of Open Access Journals (Sweden)

    Mykola Pshenychnykh

    2016-11-01

    Full Text Available One of the main aspects of forming future music teachers’ professional competence, connected with mastering professional musical and performing skills in the course “Orchestra Class” and realized in the activity of students’ performing group, is revealed. Nowadays the problem of creative personality development is relevant, as creative future music art teachers freely orient themselves and guide pupils students in today's cultural environment, music and media space, have a strong musical taste and aesthetic guidelines. The music genre groups have been characterized in the article. It is thought that these groups are the traditional components of repertoire of folk and orchestra student groups: arrangements of folk tunes; works of Ukrainian and world classics, orchestrated for the folk groups, taking into account each orchestra performing possibilities; works by contemporary authors, written specifically for the orchestra of folk instruments. The main methodological principles of selecting the repertoire for the student orchestra of folk instruments are disclosed, including: technical, artistic and performing capabilities of student groups; involvement of works of different genres into the repertoire; correspondence of orchestra scores to instrumental composition of the student orchestra, and their correction if it is necessary; selecting works, whose performing arouses interest of the student audience; using the experience of the leading professional ensembles of folk instruments; constant updating the orchestra's repertoire. In the conclusion the author emphasizes that taking into account the methodological tips helps solve the main tasks within the course of “Orchestra Class”. These tips are the following: students’ acquaintance with the history of foundation, composition, ways of musicianship, technique of playing the instrument of folk instrument orchestra and acquaintance with specific orchestral music; development of all

  3. Commentary on "Sonata Form in the Nineteenth-Century Symphony"

    Directory of Open Access Journals (Sweden)

    Ben Duane

    2017-01-01

    Full Text Available This commentary compares observational corpus analysis and hypothesis-driven analytical methods, and discusses the methods used in Cannon's "Sonata Form in the Nineteenth-Century Symphony" article.

  4. Intervjuu American Wind Symphony Orchestra dirigendi Robert Austin Boudreau'ga = Interview with Mr. Robert Austin Boudreau, director of the American Wind Symphony Orchestra / Robert Austin Boudreau ; interv. Heli Ojamaa

    Index Scriptorium Estoniae

    Boudreau, Robert Austin

    2007-01-01

    11. IV 2007. a. tehtud telefoniintervjuu Robert A. Boudreau'ga, kellele arhitekt Louis I. Kahn disainis kontserdilaevad Point Counterpoint I (valmis 1961) ja Point Counterppoint II (kavandamist alustati 1966, valmis 1975). Louis I. Kahnist, koostööst arhitektiga ja laevadest. Selgitav kaaskiri arhitekt Heli Ojamaalt. Ill.: I laeva makett, II laeva joonised ja 4 värv. fotot

  5. Replacing the Orchestra? - The Discernibility of Sample Library and Live Orchestra Sounds.

    Directory of Open Access Journals (Sweden)

    Reinhard Kopiez

    Full Text Available Recently, musical sounds from pre-recorded orchestra sample libraries (OSL have become indispensable in music production for the stage or popular charts. Surprisingly, it is unknown whether human listeners can identify sounds as stemming from real orchestras or OSLs. Thus, an internet-based experiment was conducted to investigate whether a classic orchestral work, produced with sounds from a state-of-the-art OSL, could be reliably discerned from a live orchestra recording of the piece. It could be shown that the entire sample of listeners (N = 602 on average identified the correct sound source at 72.5%. This rate slightly exceeded Alan Turing's well-known upper threshold of 70% for a convincing, simulated performance. However, while sound experts tended to correctly identify the sound source, participants with lower listening expertise, who resembled the majority of music consumers, only achieved 68.6%. As non-expert listeners in the experiment were virtually unable to tell the real-life and OSL sounds apart, it is assumed that OSLs will become more common in music production for economic reasons.

  6. Replacing the Orchestra? - The Discernibility of Sample Library and Live Orchestra Sounds.

    Science.gov (United States)

    Kopiez, Reinhard; Wolf, Anna; Platz, Friedrich; Mons, Jan

    2016-01-01

    Recently, musical sounds from pre-recorded orchestra sample libraries (OSL) have become indispensable in music production for the stage or popular charts. Surprisingly, it is unknown whether human listeners can identify sounds as stemming from real orchestras or OSLs. Thus, an internet-based experiment was conducted to investigate whether a classic orchestral work, produced with sounds from a state-of-the-art OSL, could be reliably discerned from a live orchestra recording of the piece. It could be shown that the entire sample of listeners (N = 602) on average identified the correct sound source at 72.5%. This rate slightly exceeded Alan Turing's well-known upper threshold of 70% for a convincing, simulated performance. However, while sound experts tended to correctly identify the sound source, participants with lower listening expertise, who resembled the majority of music consumers, only achieved 68.6%. As non-expert listeners in the experiment were virtually unable to tell the real-life and OSL sounds apart, it is assumed that OSLs will become more common in music production for economic reasons.

  7. TBT recommends : Vera Bila. The No Smoking Orchestra. Robert Plant

    Index Scriptorium Estoniae

    2005-01-01

    Mustlasansambli Kale ja Vera Bila kontserdist 8. apr Tallinnas. Bosnia filmirežissööri Emir Kusturica ja tema ansambli No Smoking Orchestra kontserdist 12. apr. Riias. Inglise rocklaulja Robert Planti kontserdist 10. apr. Vilniuses

  8. Error monitoring in musicians

    Directory of Open Access Journals (Sweden)

    Clemens eMaidhof

    2013-07-01

    Full Text Available To err is human, and hence even professional musicians make errors occasionally during their performances. This paper summarizes recent work investigating error monitoring in musicians, i.e. the processes and their neural correlates associated with the monitoring of ongoing actions and the detection of deviations from intended sounds. EEG Studies reported an early component of the event-related potential (ERP occurring before the onsets of pitch errors. This component, which can be altered in musicians with focal dystonia, likely reflects processes of error detection and/or error compensation, i.e. attempts to cancel the undesired sensory consequence (a wrong tone a musician is about to perceive. Thus, auditory feedback seems not to be a prerequisite for error detection, consistent with previous behavioral results. In contrast, when auditory feedback is externally manipulated and thus unexpected, motor performance can be severely distorted, although not all feedback alterations result in performance impairments. Recent studies investigating the neural correlates of feedback processing showed that unexpected feedback elicits an ERP component after note onsets, which shows larger amplitudes during music performance than during mere perception of the same musical sequences. Hence, these results stress the role of motor actions for the processing of auditory information. Furthermore, recent methodological advances like the combination of 3D motion capture techniques with EEG will be discussed. Such combinations of different measures can potentially help to disentangle the roles of different feedback types such as proprioceptive and auditory feedback, and in general to derive at a better understanding of the complex interactions between the motor and auditory domain during error monitoring. Finally, outstanding questions and future directions in this context will be discussed.

  9. The enigma of dyslexic musicians.

    Science.gov (United States)

    Weiss, Atalia H; Granot, Roni Y; Ahissar, Merav

    2014-02-01

    Musicians are known to have exceptional sensitivity to sounds, whereas poor phonological representations (or access to these representations) are considered a main characteristic of dyslexic individuals. Though these two characteristics refer to different abilities that are related to non-verbal and verbal skills respectively, the recent literature suggests that they are tightly related. However, there are informal reports of dyslexic musicians. To better understand this enigma, two groups of musicians were recruited, with and without a history of reading difficulties. The pattern of reading difficulties found among musicians was similar to that reported for non-musician dyslexics, though its magnitude was less severe. In contrast to non-musician dyslexics, their performance in pitch and interval discrimination, synchronous tapping and speech perception tasks, did not differ from the performance of their musician peers, and was superior to that of the general population. However, the auditory working memory scores of dyslexic musicians were consistently poor, including memory for rhythm, melody and speech sounds. Moreover, these abilities were inter-correlated, and highly correlated with their reading accuracy. These results point to a discrepancy between their perceptual and working memory skills rather than between sensitivity to speech and non-speech sounds. The results further suggest that in spite of intensive musical training, auditory working memory remains a bottleneck to the reading accuracy of dyslexic musicians. Copyright © 2013 Elsevier Ltd. All rights reserved.

  10. Reduced surround inhibition in musicians.

    Science.gov (United States)

    Shin, Hae-Won; Kang, Suk Y; Hallett, Mark; Sohn, Young H

    2012-06-01

    To investigate whether surround inhibition (SI) in the motor system is altered in professional musicians, we performed a transcranial magnetic stimulation (TMS) study in 10 professional musicians and 15 age-matched healthy non-musicians. TMS was set to be triggered by self-initiated flexion of the index finger at different intervals ranging from 3 to 1,000 ms. Average motor evoked potential (MEP) amplitudes obtained from self-triggered TMS were normalized to average MEPs of the control TMS at rest and expressed as a percentage. Normalized MEP amplitudes of the abductor digiti minimi (ADM) muscles were compared between the musicians and non-musicians with the primary analysis being the intervals between 3 and 80 ms (during the movement). A mixed-design ANOVA revealed a significant difference in normalized ADM MEPs during the index finger flexion between groups, with less SI in the musicians. This study demonstrated that the functional operation of SI is less strong in musicians than non-musicians, perhaps due to practice of movement synergies involving both muscles. Reduced SI, however, could lead susceptible musicians to be prone to develop task-specific dystonia.

  11. Perception of orchestral musicians about work environment and conditions

    Directory of Open Access Journals (Sweden)

    Clarissa Stefani Teixeira

    2014-04-01

    Full Text Available The objective of this study was to investigate the perception of 11 orchestral string (viola and violin musicians of both genders with respect to their work environment and conditions. We applied a questionnaire with demographic information and the scale Profile of Work Environment and Working Conditions by Nahas et al. (2009, which analyzes the following components: physical environment, social environment, development and professional achievement, salary and benefits, and social relevance. The social environment component presented the highest score - 8.00 (1.50 points, followed by professional achievement - 7.11 (1.96 points, and physical environment - 6.89 (0.93 points. The salary and benefits provided by the orchestra presented the lowest score - 6.78 (1.56 points. In general, the musicians showed positive perceptions of the components related to work environment and working conditions. However, remuneration and social relevance are work bases that could contribute to improve the working conditions of these professionals.

  12. Pitch discrimination: are professional musicians better than non-musicians?

    Science.gov (United States)

    Kishon-Rabin, L; Amir, O; Vexler, Y; Zaltz, Y

    2001-01-01

    Musicians are typically considered to exhibit exceptional auditory skills. Only few studies, however, have substantiated this in basic psychoacoustic tasks. The purpose of the present investigation was to expand our knowledge on basic auditory abilities of musicians compared to non-musicians. Specific goals were: (1) to compare frequency discrimination thresholds (difference limen for frequency [DLF]) of non-musical pure tones in controlled groups of professional musicians and non-musicians; (2) to relate DLF performance to musical background; and (3) to compare DLF thresholds obtained with two threshold estimation procedures: 2- and 3- interval forced choice procedures (2IFC and 3IFC). Subjects were 16 professional musicians and 14 non-musicians. DLFs were obtained for three frequencies (0.25, 1 and 1.5 kHz) using the 3IFC adaptive procedure, and for one frequency (1 kHz) also using the 2IFC. Three threshold estimates were obtained for each frequency, procedure and subject. The results of the present study support five major findings: (a) mean DLFs for musicians were approximately half the values of the non-musicians; (b) significant learning for both groups during the three threshold estimations; (c) classical musicians performed better than those with contemporary musical background; (d) performance was influenced by years of musical experience; and (e) both groups showed better DLF in a 2IFC paradigm compared to the 3IFC. These data highlight the importance of short-term training on an auditory task, auditory memory and factors related to musical background (such as musical genre and years of experience) on auditory performance.

  13. The Orchestras of the Príncipe and Cruz Coliseums in Madrid during the Second Half of the 18th Century

    Directory of Open Access Journals (Sweden)

    Marina BARBA

    2016-06-01

    Full Text Available There were no stable orchestras in Madrid’s public theatres during the first half of the Eighteenth Century, and a variable number of instrumentalists were used on each occasion. This paper discusses the development of the two town-owned theatres in the second half of the century, when the orchestra was considered an important element and a new way of hiring musicians developed, based on sources kept at the Archivo de Villa de Madrid, Sección de Secretaría.René Andioc and Mireille Coulon in their Cartelera teatral madrileña del siglo XVIII: (1708-1808 refer to the companies that worked in both theatres in the second half of the 18th Century, those of de Josef de Parra, María Hidalgo, José Martínez Gálvez, Juan Ángel, Águeda de la Calle, María Ladvenant, Nicolás de la Calle, Juan Ponce, Manuel Martínez, Eusebio Ribera, Joaquín Palomino, Luis Navarro and Francisco Ramo, although they do not study the orchestral musicians. The first study on this issue is that by José Máximo Leza «Las orquestas de ópera en Madrid entre los siglos XVIII-XIX», although it does not discuss the theatres of La Cruz and El Príncipe in the second half of the century. 

  14. An Orchestra's Guide to the Universe

    Science.gov (United States)

    Harrus, I.; RIME Arthur Bloom Collaboration

    2005-12-01

    We describe here an interdisciplinary program that combines astronomy and music in a unique and unprecedented fashion. This is an intensive program in which students prepare for and perform with a professional orchestra. For many of its participants, it is a life-changing experience. For us, it is a conduit for developing, implementing and disseminating truly innovative and interdisciplinary science education and outreach. The team, headed by composer Arthur Bloom, who created the original and highly successful music program, includes astronomers, teachers, educators, and evaluators. We are working in collaboration with a school in Berwins Heights and with graduate students in astronomy from the University of Maryland in College Park under the supervision of Cole Miller. The evaluation of the program is done under the supervision of Hiro Yoshikawa (Harvard University). The program received seed funding from an IDEAS grant awarded to Arthur Bloom in 2003. This unique collaboration provides an opportunity to develop innovative and interdisciplinary educational and outreach materials, leverage investment and broadly disseminate our results, share costs, link with school systems, target underserved and underrepresented populations, cultivate new sources of media attention, and enhance interest and learning in astronomy.

  15. Character Strengths Profiles of Musicians and Non-Musicians

    Directory of Open Access Journals (Sweden)

    Angelika Güsewell

    2015-06-01

    Full Text Available In the 1980s and 1990s a series of studies investigated musicians’ personalities using Cattell’s 16 personality factors, Eysenck’s PEN super factors, and Costa and McCrae’s Big Five. The findings hinted at some traits most musicians seemed to share, and highlighted differences between the personality traits of brass and string players. However, results were inconclusive and sometimes contradictory. The main aim of this study was to further investigate the topic using novel theoretical frameworks: Peterson and Seligman’s (2004 VIA classification, and Güsewell and Ruch’s (2012 responsiveness to the beautiful and good model. The character strengths and responsiveness to the beautiful and good profiles of classical and non-classical (i.e. jazz, rock, and pop professional musicians, amateur musicians, and non-musicians were compared. In total, 324 participants equally distributed among these three subgroups completed the Values in Action Inventory of Strengths (VIA-IS; Peterson, Park, & Seligman, 2005, the Engagement with Beauty Scale (EBS; Diessner, Solom, Frost, Parsons, & Davidson, 2008, and the Appreciation of Beauty and Excellence Test (ABET; Güsewell & Ruch, 2012. Professional musicians scored significantly higher than non-musicians on self-regulation, appreciation of beauty and excellence, and responsiveness to artistic beauty; they scored significantly lower than amateurs on judgement and perspective, and lower than both amateurs and non-musicians on teamwork, fairness, and leadership. Professional classical musicians scored significantly higher than professional non-classical musicians on prudence. The latter, in turn, displayed significantly higher scores on creativity, bravery, and honesty. The two groups did not differ with respect to any of the responsiveness dimensions.

  16. Borodin: Les 3 Symphonies. Le Prince Igor / Francis Dresel

    Index Scriptorium Estoniae

    Dresel, Francis

    1992-01-01

    Uuest heliplaadist "Borodin: Les 3 Symphonies. Le Prince Igor: Ouverture. Danse des jeunes filles polovtsiennes. Danses polovtsiennes. Notturno. Dans les Steppes de l'Asie centrale. Petite Suite. Choeur et Orchestre Symphonique de Göteborg, Neeme Järvi" DG 435 757-2

  17. Stravinsky: Symphonies, Concertos, Ballets and other works / David S. Gutman

    Index Scriptorium Estoniae

    Gutman, David S.

    1994-01-01

    Uuest heliplaadist "Stravinsky: Symphonies, Concertos, Ballets and other works. Gabriele Schnaut (sop), Peter Svensson (ten), Franz Grundheber (bar), Günther von Kannen (bass), Jean Piat (narr), Lydia Mordkovitch (vn), Geoffrey Tozer, Boris Berman (pfs), Suisse Romande Chamber Choir, Lausanne Pro Arte Choir, Brassus Choral Society, Suisse Romande Ochestra, Neeme Järvi. Chandos CD CHAN 9240

  18. Clock synchronisation experiment in India using symphonie satellite

    Science.gov (United States)

    Somayajulu, Y. V.; Mathur, B. S.; Banerjee, P.; Garg, S. C.; Singh, L.; Sood, P. C.; Tyagi, T. R.; Jain, C. L.; Kumar, K.

    1979-01-01

    A recent clock synchronization experiment between the National Physical Laboratory (NPL), New Delhi and Space Applications Center (SAC), Ahemedabad, in India via geostationary satellite symphonie 2, stationed at 49 E longitude, is reported. A two-way transmission using a microwave transponder considered to provide the greatest precision in synchronization of two remote clocks is described.

  19. Nuclear power in the WEC partitions: Jazz and symphony - 5404

    International Nuclear Information System (INIS)

    Moncomble, J.E.

    2015-01-01

    The World Energy Council (WEC) has built two scenarios typified by characteristics, which, each from their own perspective, may comprehensively describe large parts of the world in 2050: the more consumer-driven Jazz scenario and the more voter-driven Symphony scenario. While scenarios are 'music based', they are completely different in nature. As an energy scenario, Jazz has a focus on energy equity with priority given to achieving individual access and affordability of energy through economic growth. As an energy scenario, Symphony has a focus on achieving environmental sustainability through internationally coordinated policies and practices. These scenarios are designed to help a range of stakeholders address the 'energy tri-lemma' of achieving environmental sustainability, energy security, and energy equity. The energy landscape we expect to see in 2050 will be quite different from how it looks today. Meeting future energy demand will be a key challenge. The world's population will increase from approximately 7 billion in 2013 to approximately 8.7 billion in the Jazz scenario and approximately 9.4 billion in the Symphony scenario in 2050, which is equal to a 26% increase (36% respectively). The WEC estimates that total primary energy supply (equal to consumption) will increase globally from 546 EJ (152 PWh) in 2010 to 879 EJ (144 PWh) in the Jazz scenario and 696 EJ (193 PWh) in the Symphony scenario in 2050. This corresponds to an increase of 61% in Jazz and 27% in Symphony. In WEC Scenarios to 2050, nuclear energy will contribute approximately 4% of total primary energy supply in Jazz in 2050 and 11% in Symphony - compared to 6% in 2010. More precisely, there is an increase of nuclear capacity (even in Jazz, thanks to demand increase) from 373 GW in 2010 to 481 GW (Jazz) or 884 GW (Symphony) in 2050. Electricity generation from renewable sources (RES-E) will increase around 4 to 5 times by 2050 in comparison to 2010

  20. Concert | United Nations Orchestra at CERN | 19 September

    CERN Multimedia

    2014-01-01

    The United Nations Orchestra will give a concert on the occasion of CERN’s 60th anniversary.   Under the baton of conductor and artistic director Antoine Marguier, the Orchestra will have the pleasure to accompany the soloist Maestro Matteo Fedeli, who, under the patronage of the Permanent Mission of Italy to the United Nations, will perform on a Stradivarius violin. The programme for the concert comprises: Jacques Offenbach, Orpheus in the Underworld Overture Franz von Suppé, Poet and Peasant Overture Camille Saint-Saëns, Introduction & Rondo Capriccioso for solo violin and orchestra Georges Bizet, Carmen Suite No. 1 Franz Lehár, Gold and Silver Waltz Gioachino Rossini, William Tell Overture   Doors open at 6 p.m. The concert will take place in a marquee behind the Globe of Science and Innovation, CERN Book your ticket here.

  1. Musicians--same or different?

    Science.gov (United States)

    Tervaniemi, Mari

    2009-07-01

    In the neuroscience of music, musicians have traditionally been treated as a unified group, as if the demands set by their musical activities would be more or less equal in terms of perceptual, cognitive, and motor functions. However, obviously, their musical preferences differentiate them to a higher degree, for instance, in terms of the instrument they choose and the music genre they are mostly engaged with as well as their practicing style. This diversity in musicians' profiles has been recently taken into account in several empirical endeavors. The present contribution will review the evidence available about the various neurocognitive profiles these different kinds of musicians display.

  2. Perception of Segment Boundaries in Musicians and Non-Musicians

    DEFF Research Database (Denmark)

    Hartmann, Martin; Toiviainen, Petri; Lartillot, Olivier

    2014-01-01

    In the act of music listening, many people break down musical pieces into chunks such as verses and choruses. Recent work on music segmentation has shown that highly agreed segment boundaries are also considered strong and are described by using multiple cues. However, these studies could...... not pinpoint the effects of data collection methods and of musicianship on boundary perception. Our study investigated the differences between segmentation tasks performed by musicians in real-time and non real-time listening contexts. Further, we assessed the effect of musical training on the perception...... of boundaries in real-time listening. We collected perceived boundaries by 18 musicians and 18 non- musicians in 9 musical examples. Musicians also completed a non real-time segmentation task for 6 of the examples. We observed high significant correlations between participant groups and between task groups...

  3. Pitch Discrimination in Musicians and Non-Musicians: Effects of Harmonic Resolvability and Processing Effort

    DEFF Research Database (Denmark)

    Bianchi, Federica; Santurette, Sébastien; Wendt, Dorothea

    2016-01-01

    Musicians typically show enhanced pitch discrimination abilities compared to non-musicians. The present study investigated this perceptual enhancement behaviorally and objectively for resolved and unresolved complex tones to clarify whether the enhanced performance in musicians can be ascribed to...

  4. Heart rate in professional musicians

    Directory of Open Access Journals (Sweden)

    García Daniel

    2008-07-01

    Full Text Available Abstract Background Very few studies have analysed heart rate (HR with regard to music playing, and the scarce evidence available is controversial. The purpose of this study was to analyse the HR response of professional musicians during their real-work activity. Methods Sixty-two voluntary professional musicians (20 women, 42 men, whose ages ranged between 15 and 71 years old, underwent the test while playing their instruments in real life scenarios, i.e. rehearsals, practice and public concerts. The musicians carried Sport Tester PE4000 (Polar®, Finland pulsometers to record their HR. In order to compare data from differently aged subjects we calculated their Maximum Theoretical Heart Rate (MTHR. Later on we found out the MTHR percentages (%MTHR corresponding to the registered HR of each subject in different situations. The value of the MTHR for every musician was obtained by means of the 220 – age (in years formula. Results Throughout the HR recordings, we have observed that musicians present a heightened HR while playing (in soloists, mean and maximum HR were 72% and 85%MTHR, respectively. Cardiac demand is significantly higher in concerts than in rehearsals while performing the same musical piece. The HR curves corresponding to the same musician playing in repeated concerts (with the same programme were similar. Conclusion The cardiac demand of a professional instrument player is higher than previously described, much greater than what would be expected from a supposedly sedentary activity.

  5. Visual memory in musicians and non-musicians.

    Science.gov (United States)

    Rodrigues, Ana Carolina; Loureiro, Maurício; Caramelli, Paulo

    2014-01-01

    Many investigations have reported structural, functional, and cognitive changes in the brains of musicians, which occur as a result of many years of musical practice. We aimed to investigate if intensive, long-term musical practice is associated with improved visual memory ability. Musicians and non-musicians, who were comparable in age, gender, and education, were submitted to a visual memory test. The test consisted of the presentation of four sets of stimuli, each one containing eight figures to be memorized. Each set was followed by individual figures and the subject was required to indicate if each figure was or was not present in the memorized set, by pressing the corresponding keys. We divided the test in two parts, in which the stimuli had greater or reduced semantic coding. Overall, musicians showed better performance on reaction times, but not on accuracy. An additional analysis revealed no significant interaction between group and any part of the test in the prediction of the outcomes. When simple reaction time was included as covariate, no significant difference between groups was found on reaction times. In the group of musicians, we found some significant correlations between variables related to musical practice and performance in the visual memory test. In summary, our data provide no evidence of enhanced visual memory ability in musicians, since there was no difference in accuracy between groups. Our results suggest that performance of musicians in the visual memory test may be associated with better sensorimotor integration, since although they have presented shorter reaction times, such effect disappeared when taken in consideration the simple reaction time test. However, given existing evidence of associations between simple reaction time and cognitive function, their performance in the visual memory test could also be related to enhanced visual attention ability, as has been suggested by previous studies, but this hypothesis deserves more

  6. Visual memory in musicians and non-musicians

    Science.gov (United States)

    Rodrigues, Ana Carolina; Loureiro, Maurício; Caramelli, Paulo

    2014-01-01

    Many investigations have reported structural, functional, and cognitive changes in the brains of musicians, which occur as a result of many years of musical practice. We aimed to investigate if intensive, long-term musical practice is associated with improved visual memory ability. Musicians and non-musicians, who were comparable in age, gender, and education, were submitted to a visual memory test. The test consisted of the presentation of four sets of stimuli, each one containing eight figures to be memorized. Each set was followed by individual figures and the subject was required to indicate if each figure was or was not present in the memorized set, by pressing the corresponding keys. We divided the test in two parts, in which the stimuli had greater or reduced semantic coding. Overall, musicians showed better performance on reaction times, but not on accuracy. An additional analysis revealed no significant interaction between group and any part of the test in the prediction of the outcomes. When simple reaction time was included as covariate, no significant difference between groups was found on reaction times. In the group of musicians, we found some significant correlations between variables related to musical practice and performance in the visual memory test. In summary, our data provide no evidence of enhanced visual memory ability in musicians, since there was no difference in accuracy between groups. Our results suggest that performance of musicians in the visual memory test may be associated with better sensorimotor integration, since although they have presented shorter reaction times, such effect disappeared when taken in consideration the simple reaction time test. However, given existing evidence of associations between simple reaction time and cognitive function, their performance in the visual memory test could also be related to enhanced visual attention ability, as has been suggested by previous studies, but this hypothesis deserves more

  7. Liszt. Concertos for Piano and Orchestra / Bryce Morrison

    Index Scriptorium Estoniae

    Morrison, Bryce

    1993-01-01

    Uuest heliplaadist "Pärt: Te Deum. Silouans Song. "My soul yearns after the Lord...". Magnificat. Berliner Messe. Estonian Philharmonic Chamber Choir, Tallinn Chamber Orchestra/Tõnu Kaljuste." ECM New Series 439 162-2 (66 minutes: DDD). Texts and translations included

  8. Nederlandse muziek bij Nederlandse symfonieorkesten 1945-2000

    NARCIS (Netherlands)

    Overbeeke, E.

    2012-01-01

    Symphony orchestras play a crucial role in Dutch musical life. They not only give composers the opportunity to present their music and give musicians and listeners the chance to get acquainted with new music, they also have own ideas about presenting which music in which setting. This dissertation

  9. Radiation load experiments with electronic components of the SYMPHONIE satellite

    International Nuclear Information System (INIS)

    Spencker, A.; Wagemann, H.G.; Braeunig, D.

    1975-09-01

    This report surveys fundamentals, realization and results of irradiation experiments which applied to 36 different electronic components of the Symphonie satellite and which were completed at the HMI Berlin and the C.N.E.T. Lannion in the years 1972/73. In a general section the evaluation of equivalent fluencies concerning 1 MeV electrons as radiation simulating the extraterrestric particle spectra with regard to the well-known semiconductor damage mechanisms is discussed. Then the realization of irradiation testing for the Symphonie satellite is described. Three selected examples demonstrate typical failure modes of semiconductor devices under radiation stress: Finally the main experimental results are shown in a standardized manner; a survey in English is given on p. 44. (orig.) [de

  10. Imagery mismatch negativity in musicians.

    Science.gov (United States)

    Herholz, Sibylle C; Lappe, Claudia; Knief, Arne; Pantev, Christo

    2009-07-01

    The present study investigated musical imagery in musicians and nonmusicians by means of magnetoencephalography (MEG). We used a new paradigm in which subjects had to continue familiar melodies in their mind and then judged if a further presented tone was a correct continuation of the melody. Incorrect tones elicited an imagery mismatch negativity (iMMN) in musicians but not in nonmusicians. This finding suggests that the MMN component can be based on an imagined instead of a sensory memory trace and that imagery of music is modulated by musical expertise.

  11. The Influence of a Sudden Increase in Playing Time on Playing-Related Musculoskeletal Complaints in High-Level Amateur Musicians in a Longitudinal Cohort Study.

    Science.gov (United States)

    Kok, Laura M; Haitjema, Saskia; Groenewegen, Karlijn A; Rietveld, A Boni M

    Several studies in the domain of professional musicians describe the relation between playing time and the occurrence of musculoskeletal complaints in professional musicians. To date, no longitudinal cohort study into this relationship has been performed and no amateur musicians were studied. Therefore, the aim of this study is to examine the causal relationship between a sudden increase in playing time among amateur musicians on the occurrence of musculoskeletal complaints in a prospective cohort study. All members of two national Dutch Students Orchestras were asked to participate in the study. These project-based orchestras, consisting of high-level amateurs, followed a nine-hour rehearsing schedule for ten consecutive days. On the first day (t0) and after one week (t1) the subjects were asked to complete a paper-based questionnaire including sociodemographic characteristics, music-related questions, questions regarding playing-related musculoskeletal complaints and the music module of the disabilities of arm, shoulder and hand questionnaire. The NSO consisted of 85 and the NESKO of 41 members during the study period. 59 subjects completed the questionnaire at both timepoints (response rate 47%). 9 subjects were excluded for being a music academy student, leaving 50 subjects (mean age 22.1, 72% female) suitable for analysis. During the rehearsal week, the prevalence of at least one playing-related musculoskeletal complaint increased from 28% to 80%. The most frequently affected areas were the neck, upper and lower back, hand/and or wrists and shoulders. The DASH music module score increased from 14 at t0 to 23 at t1. A point prevalence of 28% at the start of the study that increased remarkably to 80% within a one-week period. Future research should evaluate other risk factors for musculoskeletal complaints in amateur musicians. These risk factors should be the base for the development of preventive measures.

  12. METHODOLOGICAL PRINCIPLES OF FORMING REPERTOIRE OF STUDENTS’ FOLK INSTRUMENTAL ORCHESTRA

    OpenAIRE

    Mykola Pshenychnykh; Volodymyr Kryvokhvostov

    2016-01-01

    One of the main aspects of forming future music teachers’ professional competence, connected with mastering professional musical and performing skills in the course “Orchestra Class” and realized in the activity of students’ performing group, is revealed. Nowadays the problem of creative personality development is relevant, as creative future music art teachers freely orient themselves and guide pupils students in today's cultural environment, music and media space, have a strong musical tast...

  13. Confirmatory Factor Analysis of the Finnish Job Content Questionnaire (JCQ) in 590 Professional Musicians.

    Science.gov (United States)

    Vastamäki, Heidi; Vastamäki, Martti; Laimi, Katri; Saltychev, Michail

    2017-07-01

    Poorly functioning work environments may lead to dissatisfaction for the employees and financial loss for the employers. The Job Content Questionnaire (JCQ) was designed to measure social and psychological characteristics of work environments. To investigate the factor construct of the Finnish 14-item version of JCQ when applied to professional orchestra musicians. In a cross-sectional survey, the questionnaire was sent by mail to 1550 orchestra musicians and students. 630 responses were received. Full data were available for 590 respondents (response rate 38%).The questionnaire also contained questions on demographics, job satisfaction, health status, health behaviors, and intensity of playing music. Confirmatory factor analysis of the 2-factor model of JCQ was conducted. Of the 5 estimates, JCQ items in the "job demand" construct, the "conflicting demands" (question 5) explained most of the total variance in this construct (79%) demonstrating almost perfect correlation of 0.63. In the construct of "job control," "opinions influential" (question 10) demonstrated a perfect correlation index of 0.84 and the items "little decision freedom" (question 14) and "allows own decisions" (question 6) showed substantial correlations of 0.77 and 0.65. The 2-factor model of the Finnish 14-item version of JCQ proposed in this study fitted well into the observed data. The "conflicting demands," "opinions influential," "little decision freedom," and "allows own decisions" items demonstrated the strongest correlations with latent factors suggesting that in a population similar to the studied one, especially these items should be taken into account when observed in the response of a population.

  14. Confirmatory Factor Analysis of the Finnish Job Content Questionnaire (JCQ in 590 Professional Musicians

    Directory of Open Access Journals (Sweden)

    Heidi Vastamäki

    2017-07-01

    Full Text Available Background: Poorly functioning work environments may lead to dissatisfaction for the employees and financial loss for the employers. The Job Content Questionnaire (JCQ was designed to measure social and psychological characteristics of work environments. Objective: To investigate the factor construct of the Finnish 14-item version of JCQ when applied to professional orchestra musicians. Methods: In a cross-sectional survey, the questionnaire was sent by mail to 1550 orchestra musicians and students. 630 responses were received. Full data were available for 590 respondents (response rate 38%.The questionnaire also contained questions on demographics, job satisfaction, health status, health behaviors, and intensity of playing music. Confirmatory factor analysis of the 2-factor model of JCQ was conducted. Results: Of the 5 estimates, JCQ items in the “job demand” construct, the “conflicting demands” (question 5 explained most of the total variance in this construct (79% demonstrating almost perfect correlation of 0.63. In the construct of “job control,” “repetitive work” (question 10 demonstrated a perfect correlation index of 0.84 and the items “little decision freedom” (question 14 and “allows own decisions” (question 6 showed substantial correlations of 0.77 and 0.65. Conclusion: The 2-factor model of the Finnish 14-item version of JCQ proposed in this study fitted well into the observed data. The “conflicting demands,” “repetitive work,” “little decision freedom,” and “allows own decisions” items demonstrated the strongest correlations with latent factors suggesting that in a population similar to the studied one, especially these items should be taken into account when observed in the response of a population.

  15. Transient evoked otoacoustic emissions in rock musicians.

    Science.gov (United States)

    Høydal, Erik Harry; Lein Størmer, Carl Christian; Laukli, Einar; Stenklev, Niels Christian

    2017-09-01

    Our focus in this study was the assessment of transient evoked otoacoustic emissions (TEOAEs) in a large group of rock musicians. A further objective was to analyse tinnitus among rock musicians as related to TEOAEs. The study was a cross-sectional survey of rock musicians selected at random. A control group was included at random for comparison. We recruited 111 musicians and a control group of 40 non-musicians. Testing was conducted by using clinical examination, pure tone audiometry, TEOAEs and a questionnaire. TEOAE SNR in the half-octave frequency band centred on 4 kHz was significantly lower bilaterally in musicians than controls. This effect was strongly predicted by age and pure-tone hearing threshold levels in the 3-6 kHz range. Bilateral hearing thresholds were significantly higher at 6 kHz in musicians. Twenty percent of the musicians had permanent tinnitus. There was no association between the TEOAE parameters and permanent tinnitus. Our results suggest an incipient hearing loss at 6 kHz in rock musicians. Loss of TEOAE SNR in the 4 kHz half-octave frequency band was observed, but it was related to higher mean 3-6 kHz hearing thresholds and age. A large proportion of rock musicians have permanent tinnitus.

  16. Enhanced feature integration in musicians

    DEFF Research Database (Denmark)

    Hansen, Niels Christian; Højlund, Andreas; Møller, Cecilie

    (MEG) from 25 musicians and 25 non-musicians, exposed to sounds presented in interleaved blocks of a musical multi-feature paradigm and a classical oddball control paradigm. In addition to single deviants differing in pitch (P), intensity (I), or perceived location (L), double and triple deviants were......Distinguishing and integrating features of sensory input is essential to human survival and no less paramount in music perception and cognition. Yet, little is known about training-induced plasticity of neural mechanisms for auditory feature integration. This study aimed to contrast the two...... hypotheses that musical expertise leads to more independent (i.e. segregated) or more dependent (i.e. integrated) processing of acoustic features presented in contexts with high or low ecological validity with respect to music. To this end, mismatch negativity (MMNm) was recorded with magnetoencephalography...

  17. Stenhammer: Concerto for Piano and Orchestra No. 2 in D minor / Robert Layton

    Index Scriptorium Estoniae

    Layton, Robert

    1994-01-01

    Uuest heliplaadist "Stenhammer: Concerto for Piano and Orchestra No. 2 in D minor, Op. 23. Serenade in F, Op. 31. Florez och Blanzeflor, Op. 3... Munich Philharmonic Orchestra / Stig Westerberg; Serenade - selected comparison: Gothenburg SO, Järvi" (2/87) BIS CD 310

  18. Differences in Myers-Briggs Personality Types among High School Band, Orchestra, and Choir Members

    Science.gov (United States)

    MacLellan, Christin Reardon

    2011-01-01

    The purpose of this study was to explore personality type differences among high school band, string orchestra, and choir students according to ensemble membership. Participants (N = 355) were high school students who had participated in their school's band, orchestra, or choir for 1 year or more. The author administered the Myers-Briggs Type…

  19. A Systematic Inventory of Motives for Becoming an Orchestra Conductor: A Preliminary Study

    Science.gov (United States)

    Makris, Ioannis; Mullet, Etienne

    2009-01-01

    The study examined the various motives (reasons) that may have led an individual to become an orchestra conductor interpreting classical works, using Apter's (2001) Metamotivational Theory framework. Questionnaires derived from the theory, consisting of 92 possible motives for becoming an orchestra conductor, were presented to 101 orchestra…

  20. Bowing in the Right Direction: Hiland Mountain Correctional Center Women's String Orchestra Programme

    Science.gov (United States)

    Warfield, Duane

    2010-01-01

    The Hiland Mountain Correctional Center, a 400-bed facility for multi-level adult female offenders in Eagle River, Alaska, offers a unique educational programme to its prisoners: an orchestra. Founded in 2003, by volunteer Pati Crofut, orchestra membership grew from eight to 22 female offenders between 2003 and 2009. Crofut has devoted her time…

  1. The cognitive functioning of older adult instrumental musicians and non-musicians.

    Science.gov (United States)

    Strong, Jessica V; Mast, Benjamin T

    2018-03-08

    This study examined similarities and differences in the cognitive profiles of older adult instrumental musicians and non-musicians. We compared neuropsychological test scores among older adult non-musicians, low-activity musicians (memory. The current study supports late life cognitive benefits of early musical training, but only in select cognitive domains, including language, executive functioning, and visual spatial ability. The results are discussed in the context of cognitive reserve and aging.

  2. Auditory and visual interhemispheric communication in musicians and non-musicians.

    Science.gov (United States)

    Woelfle, Rebecca; Grahn, Jessica A

    2013-01-01

    The corpus callosum (CC) is a brain structure composed of axon fibres linking the right and left hemispheres. Musical training is associated with larger midsagittal cross-sectional area of the CC, suggesting that interhemispheric communication may be faster in musicians. Here we compared interhemispheric transmission times (ITTs) for musicians and non-musicians. ITT was measured by comparing simple reaction times to stimuli presented to the same hemisphere that controlled a button-press response (uncrossed reaction time), or to the contralateral hemisphere (crossed reaction time). Both visual and auditory stimuli were tested. We predicted that the crossed-uncrossed difference (CUD) for musicians would be smaller than for non-musicians as a result of faster interhemispheric transfer times. We did not expect a difference in CUDs between the visual and auditory modalities for either musicians or non-musicians, as previous work indicates that interhemispheric transfer may happen through the genu of the CC, which contains motor fibres rather than sensory fibres. There were no significant differences in CUDs between musicians and non-musicians. However, auditory CUDs were significantly smaller than visual CUDs. Although this auditory-visual difference was larger in musicians than non-musicians, the interaction between modality and musical training was not significant. Therefore, although musical training does not significantly affect ITT, the crossing of auditory information between hemispheres appears to be faster than visual information, perhaps because subcortical pathways play a greater role for auditory interhemispheric transfer.

  3. Auditory and visual interhemispheric communication in musicians and non-musicians.

    Directory of Open Access Journals (Sweden)

    Rebecca Woelfle

    Full Text Available The corpus callosum (CC is a brain structure composed of axon fibres linking the right and left hemispheres. Musical training is associated with larger midsagittal cross-sectional area of the CC, suggesting that interhemispheric communication may be faster in musicians. Here we compared interhemispheric transmission times (ITTs for musicians and non-musicians. ITT was measured by comparing simple reaction times to stimuli presented to the same hemisphere that controlled a button-press response (uncrossed reaction time, or to the contralateral hemisphere (crossed reaction time. Both visual and auditory stimuli were tested. We predicted that the crossed-uncrossed difference (CUD for musicians would be smaller than for non-musicians as a result of faster interhemispheric transfer times. We did not expect a difference in CUDs between the visual and auditory modalities for either musicians or non-musicians, as previous work indicates that interhemispheric transfer may happen through the genu of the CC, which contains motor fibres rather than sensory fibres. There were no significant differences in CUDs between musicians and non-musicians. However, auditory CUDs were significantly smaller than visual CUDs. Although this auditory-visual difference was larger in musicians than non-musicians, the interaction between modality and musical training was not significant. Therefore, although musical training does not significantly affect ITT, the crossing of auditory information between hemispheres appears to be faster than visual information, perhaps because subcortical pathways play a greater role for auditory interhemispheric transfer.

  4. [Functional MRI of human brain in musicians and non-musicians].

    Science.gov (United States)

    Cui, Heng-wu; Zhang, Shi-zheng; Di, Hai-bo; Liu, Hai; Zhu, Yi-hong; Zhang, Qiao-wei; Weng, Xu-chu; Chen, Yi-zhang

    2005-07-01

    To explore the differences in brain activation between musicians and non-musicians by use of functional MRI. Twelve right-handed musicians and twelve right-handed non-musicians were recruited in the study. During a listening task, they were scanned on the Sigma 1.5T scanner (GE) while they were passively listening to several segments of music of "the Butterfly Love" and the white noise with same physical energy. Both musicians and non-musicians demonstrated bilateral transverse gyrus weak activated while listening to the white noise. But when listening to music, they showed bilateral temporal areas strongly activated including superior temporal gyrus, transverse gyrus and some middle temporal areas. Moreover, musicians showed relative left dominance (10/12), whereas non-musicians demonstrated right dominance(11/12). Furthermore,besides bilateral temporal areas, more and stronger activated areas were found in musicians such as cuneus, precuneus,medial frontal and left middle occipital gyrus. There are different neuro-patterns between musicians and non-musicians.

  5. Temporal and spectral audiotactile interactions in musicians.

    Science.gov (United States)

    Landry, Simon P; Sharp, Andréanne; Pagé, Sara; Champoux, François

    2017-02-01

    Previous investigations have revealed that the complex sensory exposure of musical training alters audiovisual interactions. As of yet, there has been little evidence on the effects of musical training on audiotactile interactions at a behavioural level. Here, we tested audiotactile interaction in musicians using the audiotactile illusory flash and the parchment-skin illusion. Significant differences were only found between musicians and non-musicians for the audiotactile illusory flash. Both groups had similar task-relevant unisensory abilities, but unlike non-musicians, the number of auditory stimulations did not have a statistically important influence on the number of perceived tactile stimulations for musicians. Musicians and non-musicians similarly perceived the parchment-skin illusion. Spectral alterations of self-generated palmar sounds similarly altered the perception of wetness and dryness for both groups. These results suggest that musical training does not seem to alter multisensory interactions at large. The specificity of the sensory enhancement suggests that musical training specifically alters processes underlying the interaction of temporal audiotactile stimuli and not the global interaction between these modalities. These results are consistent with previous unisensory and multisensory investigations on sensory abilities related to audiotactile processing in musicians.

  6. Performance Stress and the Very Young Musician

    Science.gov (United States)

    Boucher, Helene; Ryan, Charlene A.

    2011-01-01

    Performance anxiety is a common experience among musicians. Recent studies have found it to be an issue not only for adult performers but also for developing musicians as early as third grade. The question as to its developed or innate nature led to the present inquiry pertaining to young children's responses to performance situations. Sixty-six…

  7. Musicians as lifelong learners: 32 biographies

    NARCIS (Netherlands)

    Rineke Smilde

    2009-01-01

    Within the study ‘Musicians as Lifelong Learners: Discovery through Biography’, biographical research was used to examine key developments in the professional lives of musicians, focusing on the relationship between their life, educational and career span ant their learning styles. This resulted in

  8. Hand Sensibility, Strength, and Laxity of High-Level Musicians Compared to Non- Musicians

    Science.gov (United States)

    Sims, Susan EG; Engel, Laura; Hammert, Warren C; Elfar, John C

    2015-01-01

    Purpose To determine whether musicians have more sensitive, stronger, and flexible hands than non-musicians. Methods One hundred musicians and 100 control subjects were assessed for two-point discrimination, Semmes-Weinstein monofilament light touch, grip and pinch strength, and laxity. Musicians were included if enrolled as instrumental performance majors at a four-year accredited conservatory of music. Non-musician controls were university students who never or rarely engaged in playing an instrument. All subjects were between the ages of 18 and 28. Exclusion criteria were history of any hand condition, trauma, surgery, or diabetes. Statistical analyses were carried out using t-test, ANOVA, and correlation coefficients as appropriate. Results High-level musicians in our cohort showed the same handedness (dominance) as the general population. The musicians were weaker than the non-musicians Male musicians were significantly weaker in pinch and grip bilaterally than non-musicians whereas female musicians were significantly weaker only in grip on the right/dominant side. Two-point discrimination was significantly less in musicians for the left/non-dominant index, ring, and small fingers, right/dominant small and dominant index finger. Semmes-Weinstein testing was significantly better for the right/dominant digits, including the thumb, but not the left digits with the exception of the ring and non-dominant middle and ring. There was no difference in laxity between the 2 groups. Discussion High-level musicians have, in general, more sensitive but weaker hands than non-musicians but the differences seem small and may not be clinically important. Level of Evidence Diagnostic Level III PMID:26253604

  9. Do wind and brass players snore less? A cross-sectional study of snoring and daytime fatigue in professional orchestral musicians.

    Science.gov (United States)

    Wardrop, P J C; Ravichandran, S; Hair, M; Robertson, S M; Sword, D

    2011-04-01

    To determine whether playing a wind or brass musical instrument is associated with reduced snoring or daytime fatigue. Cross-sectional, controlled, anonymous, questionnaire-based observational study. Rehearsal and performance halls. Three hundred and forty musicians from Scotland's five professional orchestras. Snore Outcomes Survey questionnaire and the Epworth Sleepiness Score. Hierarchical linear regression analysis. No significant difference was found between the snoring severity (Snore Outcomes Survey score) or daytime sleepiness (Epworth score) of wind/brass and other professional musicians. A regression model with snoring severity (Snore Outcomes Survey score) as the dependent variable and the three covariates of gender, age and body mass index as independent variables was significant [F(3, 206) = 28.77, P study demonstrated no significant difference between the snoring severity or daytime sleepiness of brass/wind players and other professional orchestral musicians. This result may have been attributed to comparatively low levels of snoring/daytime sleepiness in the population studied. The findings contrast with previous studies examining the effects of singing and didgeridoo playing but concur with a recent similar study of orchestral musicians. A prospective interventional study would be required to determine whether playing a wind or brass instrument improves these variables in patients complaining of disruptive snoring. © 2011 Blackwell Publishing Ltd.

  10. Musician Map: visualizing music collaborations over time

    Science.gov (United States)

    Yim, Ji-Dong; Shaw, Chris D.; Bartram, Lyn

    2009-01-01

    In this paper we introduce Musician Map, a web-based interactive tool for visualizing relationships among popular musicians who have released recordings since 1950. Musician Map accepts search terms from the user, and in turn uses these terms to retrieve data from MusicBrainz.org and AudioScrobbler.net, and visualizes the results. Musician Map visualizes relationships of various kinds between music groups and individual musicians, such as band membership, musical collaborations, and linkage to other artists that are generally regarded as being similar in musical style. These relationships are plotted between artists using a new timeline-based visualization where a node in a traditional node-link diagram has been transformed into a Timeline-Node, which allows the visualization of an evolving entity over time, such as the membership in a band. This allows the user to pursue social trend queries such as "Do Hip-Hop artists collaborate differently than Rock artists".

  11. Auralization of an orchestra using multichannel and multisource technique (A)

    DEFF Research Database (Denmark)

    Vigeant, Michelle C.; Wang, Lily M.; Rindel, Jens Holger

    2006-01-01

    Previous work has shown the importance of including source directivity in computer modeling for auralizations. A newer method to capture source directivity in auralizations is the multichannel technique, which uses multichannel anechoic recordings. In this study, five-channel anechoic recordings ...... made with a single channel orchestral anechoic recording using (ii) a surface source and (iii) a single omni-directional source. [Work supported by the National Science Foundation.]......Previous work has shown the importance of including source directivity in computer modeling for auralizations. A newer method to capture source directivity in auralizations is the multichannel technique, which uses multichannel anechoic recordings. In this study, five-channel anechoic recordings...... were obtained for every orchestral part of two symphonies at the Technical University of Denmark. Five-channel auralizations were then created for each instrument, located at its typical position on-stage in a concert hall, by convolving five impulse responses from sources that each represent...

  12. The Musician in Brazilian Society, Past and Present.

    Science.gov (United States)

    Azevedo, Luiz Heitor Correa de

    1982-01-01

    Throughout the history of Brazil, musicians have always been able to win social recognition and status. The development of musicians' professional organizations; the business, cultural, and educational enterprises of Brazilian musicians; and the roles of women, foreign, and amateur musicians are discussed. (AM)

  13. Acoustics and the Performance of Music Manual for Acousticians, Audio Engineers, Musicians, Architects and Musical Instrument Makers

    CERN Document Server

    Meyer, Jürgen

    2009-01-01

    Acoustics and the Performance of Music connects scientific understandings of acoustics with practical applications to musical performance. Of central importance are the tonal characteristics of musical instruments and the singing voice including detailed representations of directional characteristics. Furthermore, room acoustical concerns related to concert halls and opera houses are considered. Based on this, suggestions are made for musical performance. Included are seating arrangements within the orchestra and adaptations of performance techniques to the performance environment. In the presentation we dispense with complicated mathematical connections and deliberately aim for conceptual explanations accessible to musicians, particularly for conductors. The graphical representations of the directional dependence of sound radiation by musical instruments and the singing voice are unique. Since the first edition was published in 1978, this book has been completely revised and rewritten to include current rese...

  14. Music, musicians, medicine, and the kidney.

    Science.gov (United States)

    Raghavan, Rajeev; Eknoyan, Garabed

    2014-01-01

    The relationship between music, medicine and nephrology is ancient; ranging from musicians afflicted with kidney disease, contributors to nephrology who were musicians, and the use of music to treat renal maladies. Musicians have long been afflicted by diseases of the kidney, particularly nephrolithiasis, for which Marin Marais in 1725 composed a unique piece for the viol detailing the harrowing experience of 'cutting for stone.' Beethoven and Mozart were afflicted by kidney disease, as are several current musicians. Where past musicians succumbed to their failing kidneys, the advent of renal replacement therapy has given today's musicians, such as James DePreist and Natalie Cole, the opportunity to continue performing and composing. Several notable physicians of old have excelled as musicians; one example is Jacob Henle (1809-1885), for whom the loop of Henle is named, another is Robert Christison, a contemporary of Richard Bright, who is considered a 'founder of nephrology'. Importantly, music therapy, as used in the times of Hippocrates and King David, has evolved from an empiric to a well-established scientific discipline. Given the recent enlarging body of scholarly studies of music therapy, its rudimentary role in nephrology deserves further exploration. © 2013 Wiley Periodicals, Inc.

  15. Functional anatomy of musical perception in musicians.

    Science.gov (United States)

    Ohnishi, T; Matsuda, H; Asada, T; Aruga, M; Hirakata, M; Nishikawa, M; Katoh, A; Imabayashi, E

    2001-08-01

    The present study used functional magnetic resonance to examine the cerebral activity pattern associated with musical perception in musicians and non-musicians. Musicians showed left dominant secondary auditory areas in the temporal cortex and the left posterior dorsolateral prefrontal cortex during a passive music listening task, whereas non-musicians demonstrated right dominant secondary auditory areas during the same task. A significant difference in the degree of activation between musicians and non-musicians was noted in the bilateral planum temporale and the left posterior dorsolateral prefrontal cortex. The degree of activation of the left planum temporale correlated well with the age at which the person had begun musical training. Furthermore, the degree of activation in the left posterior dorsolateral prefrontal cortex and the left planum temporale correlated significantly with absolute pitch ability. The results indicated distinct neural activity in the auditory association areas and the prefrontal cortex of trained musicians. We suggest that such activity is associated with absolute pitch ability and the use-dependent functional reorganization produced by the early commencement of long-term training.

  16. Absolute Memory for Tempo in Musicians and Non-Musicians.

    Science.gov (United States)

    Gratton, Irene; Brandimonte, Maria A; Bruno, Nicola

    2016-01-01

    The ability to remember tempo (the perceived frequency of musical pulse) without external references may be defined, by analogy with the notion of absolute pitch, as absolute tempo (AT). Anecdotal reports and sparse empirical evidence suggest that at least some individuals possess AT. However, to our knowledge, no systematic assessments of AT have been performed using laboratory tasks comparable to those assessing absolute pitch. In the present study, we operationalize AT as the ability to identify and reproduce tempo in the absence of rhythmic or melodic frames of reference and assess these abilities in musically trained and untrained participants. We asked 15 musicians and 15 non-musicians to listen to a seven-step `tempo scale' of metronome beats, each associated to a numerical label, and then to perform two memory tasks. In the first task, participants heard one of the tempi and attempted to report the correct label (identification task), in the second, they saw one label and attempted to tap the correct tempo (production task). A musical and visual excerpt was presented between successive trials as a distractor to prevent participants from using previous tempi as anchors. Thus, participants needed to encode tempo information with the corresponding label, store the information, and recall it to give the response. We found that more than half were able to perform above chance in at least one of the tasks, and that musical training differentiated between participants in identification, but not in production. These results suggest that AT is relatively wide-spread, relatively independent of musical training in tempo production, but further refined by training in tempo identification. We propose that at least in production, the underlying motor representations are related to tactus, a basic internal rhythmic period that may provide a body-based reference for encoding tempo.

  17. Orchestral Conducting as Educational Practice: A Smallian Perspective of Relationships and Pedagogy in Youth Orchestras

    Directory of Open Access Journals (Sweden)

    Daniele Parziani

    2011-01-01

    Full Text Available In this article the author attempts a first description of his ongoing research on the pedagogy and educational philosophy which can be applied in working with the youth orchestra, based on Christopher Small's theory of musicking; the youth orchestra is seen here as a learning community, and the author attempts to redefine the relationships which are embodied and shaped within it, wishing to stir up the stagnant social relationships of the classical orchestra community. The article is particularly concerned with the power relationship between the teacher-conductor and the students, while raising questions of musical identity, hierarchy and empathy from a Smallian perspective applied to the conducting of the youth orchestra, within a concept of educational conducting.

  18. [Death and the pop musician].

    Science.gov (United States)

    de Leeuw, Peter W

    2011-01-01

    Many people are inclined to believe that popular music artists are prone to die prematurely. Scientific research into this matter is scarce. There is only one epidemiological study on this subject, showing that mortality among pop stars during the first 25 years after they became famous is increased. This mortality is higher in Northern America than it is in Europe, but European pop stars die on average at an earlier age. A fairly common belief states that many pop stars die at the age of 27 years. This age has even been proclaimed as the most critical for modern musicians. However, data of several hundred deceased pop stars shows no evidence for increased mortality at the age of 27. Moreover, the data suggests that the age of death has increased over the past forty years. As far as the cause of death is concerned, overdose of drugs or alcohol rank highly next to cardiovascular disease and malignancy.

  19. Seismic behaviour of LMFBR reactor cores. The SYMPHONY program

    International Nuclear Information System (INIS)

    Broc, Daniel

    2001-01-01

    As part of a comprehensive program on the seismic behaviour of the LMFBR reactor cores, the SYMPHONY experimental program, performed at the CEA Saclay, is carried out from 1993 up to now. LMFBR reactor cores are composed of fuel assemblies and neutronic shields, immersed in sodium (the primary coolant) or water (for the experimental tests). The main objective of the seismic studies is to evaluate the assembly motions, with consequences on the reactivity and the control rod insertability, and to verify the structural integrity of the assemblies under the impact forces. The experimental program has reached its objectives. Tests have been performed in a satisfying way. Instrumentation allowed to collect displacements, accelerations, and shock forces. All the results constitute a comprehensive base of valuable and reliable data. The interpretation of the tests is based on beam models, taking into account the Fluid Structure Interaction, and the shocks between the assemblies. Theoretical results are in a quite good agreement with the experimental ones. The interpretation of the hexagonal tests in water pointed out very strong coupling between the assemblies and lead to the development of a specific Fluid Structure Interaction, taking into account not only inertial effects, but dissipative effects also. (author)

  20. Do older professional musicians have cognitive advantages?

    Science.gov (United States)

    Amer, Tarek; Kalender, Beste; Hasher, Lynn; Trehub, Sandra E; Wong, Yukwal

    2013-01-01

    The current study investigates whether long-term music training and practice are associated with enhancement of general cognitive abilities in late middle-aged to older adults. Professional musicians and non-musicians who were matched on age, education, vocabulary, and general health were compared on a near-transfer task involving auditory processing and on far-transfer tasks that measured spatial span and aspects of cognitive control. Musicians outperformed non-musicians on the near-transfer task, on most but not all of the far-transfer tasks, and on a composite measure of cognitive control. The results suggest that sustained music training or involvement is associated with improved aspects of cognitive functioning in older adults.

  1. Do older professional musicians have cognitive advantages?

    Directory of Open Access Journals (Sweden)

    Tarek Amer

    Full Text Available The current study investigates whether long-term music training and practice are associated with enhancement of general cognitive abilities in late middle-aged to older adults. Professional musicians and non-musicians who were matched on age, education, vocabulary, and general health were compared on a near-transfer task involving auditory processing and on far-transfer tasks that measured spatial span and aspects of cognitive control. Musicians outperformed non-musicians on the near-transfer task, on most but not all of the far-transfer tasks, and on a composite measure of cognitive control. The results suggest that sustained music training or involvement is associated with improved aspects of cognitive functioning in older adults.

  2. The appropriate or optimal tempo for music: a comparison between non-musicians and musicians.

    Science.gov (United States)

    Quinn, Sandra; Watt, Roger

    2013-01-01

    Musicians have enhanced skills that result from intensive training. Whilst musicians show enhanced auditory capabilities (Kraus and Chandrasekaran, 2010 Nature Reviews Neuroscience 11 599-605), non-musicians demonstrate an ability to perform musical tasks (eg listening, dancing, and singing). Non-musicians can also undertake tasks that would normally be reserved for musicians. For example, non-musicians can perceive optimal tempi (ie an appropriate speed) for music (Quinn and Watt, 2006 Perception 35 267-280; Quinn and Watt, 2012 Perception 41 236-238; Quinn et al, 2012 Journal of the Acoustical Society of America 131 3595-3598). This suggests that formalised musical training is not a prerequisite for developing a sense of the tempo that sounds right for a melody. The current studies examine this issue and compare the tempo that musicians choose to perform unfamiliar melodies with the tempo that non-musicians perceive to be optimal for the same melodies. The results demonstrate that the perceived optimal tempo is similar to the performed tempo.

  3. Cortical Activity during Perception of Musical Rhythm; Comparing Musicians and Non-musicians.

    Science.gov (United States)

    Habibi, Assal; Wirantana, Vinthia; Starr, Arnold

    2014-06-01

    This study investigates the effects of musical training on brain activity to violations of rhythmic expectancies. We recorded behavioral and event-related brain potential (ERP) responses of musicians and non-musicians to discrepancies of rhythm between pairs of unfamiliar melodies based on Western classical rules. Rhythm deviations in the second melody involved prolongation of a note, thus creating a delay in the subsequent note; the duration of the second note was consequently shorter because the offset time was unchanged. In the first melody, on the other hand, the two notes were of equal duration. Musicians detected rhythm deviations significantly better than non-musicians. A negative auditory cortical potential in response to the omitted stimulus was observed at a latency of 150-250 ms from where the note should have been. There were no significant differences of amplitude or latency between musicians and non-musicians. In contrast, the N100 and P200 to the delayed note after the omission were significantly greater in amplitude in musicians compared to non-musicians especially in frontal and frontal-central areas. These findings indicate that long term musical training enhances brain cortical activities involved in processing temporal irregularities of unfamiliar melodies.

  4. Effects of reverberation on brainstem representation of speech in musicians and non-musicians.

    Science.gov (United States)

    Bidelman, Gavin M; Krishnan, Ananthanarayan

    2010-10-08

    Perceptual and neurophysiological enhancements in linguistic processing in musicians suggest that domain specific experience may enhance neural resources recruited for language specific behaviors. In everyday situations, listeners are faced with extracting speech signals in degraded listening conditions. Here, we examine whether musical training provides resilience to the degradative effects of reverberation on subcortical representations of pitch and formant-related harmonic information of speech. Brainstem frequency-following responses (FFRs) were recorded from musicians and non-musician controls in response to the vowel /i/ in four different levels of reverberation and analyzed based on their spectro-temporal composition. For both groups, reverberation had little effect on the neural encoding of pitch but significantly degraded neural encoding of formant-related harmonics (i.e., vowel quality) suggesting a differential impact on the source-filter components of speech. However, in quiet and across nearly all reverberation conditions, musicians showed more robust responses than non-musicians. Neurophysiologic results were confirmed behaviorally by comparing brainstem spectral magnitudes with perceptual measures of fundamental (F0) and first formant (F1) frequency difference limens (DLs). For both types of discrimination, musicians obtained DLs which were 2-4 times better than non-musicians. Results suggest that musicians' enhanced neural encoding of acoustic features, an experience-dependent effect, is more resistant to reverberation degradation which may explain their enhanced perceptual ability on behaviorally relevant speech and/or music tasks in adverse listening conditions. Copyright © 2010 Elsevier B.V. All rights reserved.

  5. Einstein's Symphony: A Gravitational Wave Voyage Through Space and Time

    Science.gov (United States)

    Shapiro Key, Joey; Yunes, Nico; Grimberg, Irene

    2015-01-01

    Einstein's Symphony: A Gravitational Wave Voyage Through Space and Time is a gravitational wave astronomy planetarium show in production by a collaboration of scientists, filmmakers, and artisits from the Center for Gravitational Wave Astonomy (CGWA) at the University of Texas at Brownsville (UTB) and Montana State University (MSU). The project builds on the success of the interdisciplinary Celebrating Einstein collaboration. The artists and scientists who created the A Shout Across Time original film and the Black (W)hole immersive art installation for Celebrating Einstein are teaming with the Museum of the Rockies Taylor Planetarium staff and students to create a new full dome Digistar planetarium show that will be freely and widely distributed to planetaria in the US and abroad. The show uses images and animations filmed and collected for A Shout Across Time and for Black (W)hole as well as new images and animations and a new soundtrack composed and produced by the MSU School of Music to use the full capability of planetarium sound systems. The planetarium show will be narrated with ideas drawn from the Celebrating Einstein danced lecture on gravitational waves that the collaboration produced. The combination of products, resources, and team members assembled for this project allows us to create an original planetarium show for a fraction of the cost of a typical show. In addition, STEM education materials for G6-12 students and teachers will be provided to complement and support the show. This project is supported by the Texas Space Grant Consortium (TSGC), Montana Space Grant Consortium (MSGC), and the American Physical Society (APS).

  6. Cortical pitch representations of complex tones in musicians and non-musicians

    DEFF Research Database (Denmark)

    Bianchi, Federica; Hjortkjær, Jens; Santurette, Sébastien

    Musicians typically show enhanced pitch-discrimination ability compared to non-musicians, consistent with the fact that musicians are more sensitive to some acoustic features critical for both speech and music processing. However, it is still unclear which mechanisms underlie this perceptual...... enhancement. In a previous behavioral study, musicians showed an increased pitch-discrimination performance for both resolved and unresolved complex tones suggesting an enhanced neural representation of pitch at central stages of the auditory system. The aim of this study was to clarify whether musicians show...... difficulty across conditions and participants. A significant effect of processing demand, i.e., task demand estimated from both stimulus resolvability and task difficulty, was observed in both auditory cortices, with a larger neural activation in the right auditory region. Additionally, no differential...

  7. Temporal coordination between performing musicians.

    Science.gov (United States)

    Loehr, Janeen D; Palmer, Caroline

    2011-11-01

    Many common behaviours require people to coordinate the timing of their actions with the timing of others' actions. We examined whether representations of musicians' actions are activated in coperformers with whom they must coordinate their actions in time and whether coperformers simulate each other's actions using their own motor systems during temporal coordination. Pianists performed right-hand melodies along with simple or complex left-hand accompaniments produced by themselves or by another pianist. Individual performers' preferred performance rates were measured in solo performance of the right-hand melody. The complexity of the left-hand accompaniment influenced the temporal grouping structure of the right-hand melody in the same way when it was performed by the self or by the duet partner, providing some support for the action corepresentation hypothesis. In contrast, accompaniment complexity had little influence on temporal coordination measures (asynchronies and cross-correlations between parts). Temporal coordination measures were influenced by a priori similarities between partners' preferred rates; partners who had similar preferred rates in solo performance were better synchronized and showed mutual adaptation to each other's timing during duet performances. These findings extend previous findings of action corepresentation and action simulation to a task that requires precise temporal coordination of independent yet simultaneous actions.

  8. Instrument-related Skin Disorders in Musicians.

    Science.gov (United States)

    Patruno, Cataldo; Napolitano, Maddalena; La Bella, Serena; Ayala, Fabio; Balato, Nicola; Cantelli, Mariateresa; Balato, Anna

    2016-01-01

    Among artists, musicians may suffer from occupational skin problems; notwithstanding, these conditions have been rarely reviewed. The characteristics of individual performer and the type of instrument will determine the kind of disease. Moreover, the hours that the musician spent to advance artistic skill may influence the severity. The frequency and risk factors of instrument-related skin disorders in musicians from southern Italy were analyzed. An observational study was conducted in 628 musicians. A questionnaire including questions related to age, sex, instrument played, musical activity, previous or current skin disorders, and impact of skin symptoms on music making was submitted. Of 628 musicians, 199 (31.7%) reported suffering from at least 1 skin disease. Cutaneous diseases likely directly correlated with the use of the musical instrument were found in 129 (20.5%) of the 628 subjects. In particular, different patterns of irritant contact dermatitis were found. Skin conditions may be a significant problem in professional instrumentalists. They are mainly related to musical activity. Preventive measures should be established.

  9. European Science Notes Information Bulletin: Reports on Current European/Middle Eastern Science

    Science.gov (United States)

    1992-06-01

    vni uiteeaenweog ultew aers musicians to form two additional symphony orchestras. paper are: Israel is having a difficult time absorbing this large in... burnable waste along with conventional effects of Chemoble are remembered. Safety and envi- fuels. In Sweden, excess powerplant heat is used when...lenses, or fibers. Royal Signals and Radar Establishment (RSRE) and the The losses are calculated to be 1 dB/cm. U.K. Ministry of Defence laboratories

  10. Adult Community Orchestras in Texas: Activity and Background Profiles of Participants with a Report of Organizational Standing

    Science.gov (United States)

    Brown, Kathryn Dharlene

    2016-01-01

    The purpose of this study was to identify and assess Texas community orchestras and create a demographic and musical profile of participants. This was accomplished through use of two online questionnaires. A director survey questionnaire determined the organizational status of each orchestra. The directors surveyed were leaders in these…

  11. Cognitive control in auditory working memory is enhanced in musicians

    OpenAIRE

    Pallesen, K.J.; Brattico, E.; Bailey, C.J.; Korvenoja, A.; Koivisto, J.; Gjedde, A.; Carlson, Synnöve

    2010-01-01

    Musical competence may confer cognitive advantages that extend beyond processing of familiar musical sounds. Behavioural evidence indicates a general enhancement of both working memory and attention in musicians. It is possible that musicians, due to their training, are better able to maintain focus on task-relevant stimuli, a skill which is crucial to working memory. We measured the blood oxygenation-level dependent (BOLD) activation signal in musicians and non-musicians during working memor...

  12. Musician earplugs: Appreciation and protection

    Directory of Open Access Journals (Sweden)

    Annelies Bockstael

    2015-01-01

    Full Text Available Recreational music exposure is a potential risk factor for noise-induced hearing loss (NIHL. Augmented hearing protectors have been designed with modified attenuation characteristics to combine hearing protection and listening comfort. However, to date, only a few independent studies have assessed the performance of those augmented protectors in realistic exposure conditions. This study compares the listening experience and temporary effects on cochlear status with different types of earplugs after exposure to contemporary club music. Five different types of commercially available hearing protectors were worn, all commonly used during leisure-time music exposure. Four of them were augmented premolded earplugs and the fifth type was an inexpensive, standard earplug frequently distributed for free at music events. During five different test sessions of 30 min each, participants not professionally involved in music wore one particular type of protector. Contemporary club music was played at sound pressure levels (SPLs representative of concerts and bars. After each listening session, a questionnaire on sound quality and general appreciation was completed. In addition, otoacoustic emissions (OAEs were measured directly before and after music exposure. The reported appreciation clearly differed depending on the addressed characteristics and the specific earplug type. In this test group, the reported appreciation mainly depended on comfort and looks, while differences in sound quality were less noticeable. The changes in OAE amplitude before and after noise exposure were small in terms of clinical standards. Nevertheless, the observed temporary shifts differed systematically for the different types of hearing protectors, with two types of musician earplug showing a more systematic decline than the others. Further research with respect to actual use and achieved protection for real, unsupervised music exposure is warranted.

  13. Lepo Sumera. Musica tenera / Guy S. Rickards

    Index Scriptorium Estoniae

    Rickards, Guy S.

    1995-01-01

    Uuest heliplaadist "Sumera, Lepo. Musica tenera. Concerto for Piano and Orchestra. Symphony Nr. 4, "Serena borealis". Kalle Randalu (pf). Malmö Symphony Orchestra, Paavo Järvi" BIS CD CD690 (55 minutes)

  14. Pärt, Arvo. Cantus in memory of Benjamin Britten / Andrew Achenbach

    Index Scriptorium Estoniae

    Achenbach, Andrew

    1995-01-01

    Uuest heliplaadist "Pärt, Arvo. Cantus in memory of Benjamin Britten. BBC Northern Symphony Orchestra / Norman del Mar; BBC Symphony Orchestra / Gennady Rozhdestvensky". BBC Radio Classics CD BBCRD 9129 (71 minutes)

  15. Eating disorders in musicians: a survey investigating self-reported eating disorders of musicians.

    Science.gov (United States)

    Kapsetaki, Marianna Evangelia; Easmon, Charlie

    2017-07-14

    This study aimed to estimate the prevalence of eating disorders (EDs) in musicians, and to evaluate their relation to perfectionism, stress, anxiety and depression. It examined: (1) the prevalence of EDs using the Eating Disorder Examination Questionnaire (EDE-Q), body mass index (BMI) and self-reports, (2) psychological risk factors using the Depression Anxiety Stress Scale (DASS-21) and perfectionism inventory and (3) demographic details, information about musical and career development, lifestyle, eating habits and health. A survey was distributed worldwide and a total of 301 English-speaking musicians aged 18 years and older participated. Our screening tools for EDs showed a high prevalence of EDs in musicians: the EDE-Q Global Score (EDE-QGS) showed pathological values in 18.66% of the musicians and when questioned about lifetime prevalence, 32.3% of the musicians answered positively. The median BMI was within the normal range. Regarding general mental health, the DASS-21 showed that depression and stress were severe, anxiety was extremely severe and the perfectionism inventory composite score was 26.53. There was no significant difference on the EDE-QGS between musicians who perform different types of music, but music students, professionals, soloists and musicians travelling overseas had a higher percentage of pathological EDE-QGS. Perfectionism was higher in classical musicians and there was a low positive correlation between EDE-QGS and the risk factors: perfectionism, depression, anxiety, stress, peer pressure and social isolation. EDs are prevalent in musicians and possible risk factors are their increased perfectionism, depression, anxiety and stress due to the demands of their job.

  16. Page turning solutions for musicians: a survey.

    Science.gov (United States)

    Wolberg, George; Schipper, Irene

    2012-01-01

    Musicians have long been hampered by the challenge in turning sheet music while their hands are occupied playing an instrument. The sight of a human page turner assisting a pianist during a performance, for instance, is not uncommon. This need for a page turning solution is no less acute during practice sessions, which account for the vast majority of playing time. Despite widespread appreciation of the problem, there have been virtually no robust and affordable products to assist the musician. Recent progress in assistive technology and electronic reading devices offers promising solutions to this long-standing problem. The objective of this paper is to survey the technology landscape and assess the benefits and drawbacks of page turning solutions for musicians. A full range of mechanical and digital page turning products are reviewed.

  17. Audiological and electrophysiological assessment of professional pop/rock musicians.

    Science.gov (United States)

    Samelli, Alessandra G; Matas, Carla G; Carvallo, Renata M M; Gomes, Raquel F; de Beija, Carolina S; Magliaro, Fernanda C L; Rabelo, Camila M

    2012-01-01

    In the present study, we evaluated peripheral and central auditory pathways in professional musicians (with and without hearing loss) compared to non-musicians. The goal was to verify if music exposure could affect auditory pathways as a whole. This is a prospective study that compared the results obtained between three groups (musicians with and without hearing loss and non-musicians). Thirty-two male individuals participated and they were assessed by: Immittance measurements, pure-tone air conduction thresholds at all frequencies from 0.25 to 20 kHz, Transient Evoked Otoacoustic Emissions, Auditory Brainstem Response (ABR), and Cognitive Potential. The musicians showed worse hearing thresholds in both conventional and high frequency audiometry when compared to the non-musicians; the mean amplitude of Transient Evoked Otoacoustic Emissions was smaller in the musicians group, but the mean latencies of Auditory Brainstem Response and Cognitive Potential were diminished in the musicians when compared to the non-musicians. Our findings suggest that the population of musicians is at risk for developing music-induced hearing loss. However, the electrophysiological evaluation showed that latency waves of ABR and P300 were diminished in musicians, which may suggest that the auditory training to which these musicians are exposed acts as a facilitator of the acoustic signal transmission to the cortex.

  18. Audiological and electrophysiological assessment of professional pop/rock musicians

    Directory of Open Access Journals (Sweden)

    Alessandra G Samelli

    2012-01-01

    Full Text Available In the present study, we evaluated peripheral and central auditory pathways in professional musicians (with and without hearing loss compared to non-musicians. The goal was to verify if music exposure could affect auditory pathways as a whole. This is a prospective study that compared the results obtained between three groups (musicians with and without hearing loss and non-musicians. Thirty-two male individuals participated and they were assessed by: Immittance measurements, pure-tone air conduction thresholds at all frequencies from 0.25 to 20 kHz, Transient Evoked Otoacoustic Emissions, Auditory Brainstem Response (ABR, and Cognitive Potential. The musicians showed worse hearing thresholds in both conventional and high frequency audiometry when compared to the non-musicians; the mean amplitude of Transient Evoked Otoacoustic Emissions was smaller in the musicians group, but the mean latencies of Auditory Brainstem Response and Cognitive Potential were diminished in the musicians when compared to the non-musicians. Our findings suggest that the population of musicians is at risk for developing music-induced hearing loss. However, the electrophysiological evaluation showed that latency waves of ABR and P300 were diminished in musicians, which may suggest that the auditory training to which these musicians are exposed acts as a facilitator of the acoustic signal transmission to the cortex.

  19. The influence of music and stress on musicians' hearing

    Science.gov (United States)

    Kähäri, Kim; Zachau, Gunilla; Eklöf, Mats; Möller, Claes

    2004-10-01

    Hearing and hearing disorders among classical and rock/jazz musicians was investigated. Pure tone audiometry was done in 140 classical and 139 rock/jazz musicians. The rock/jazz musicians answered a questionnaire concerning hearing disorders and psychosocial exposure. All results were compared to age appropriate reference materials. Hearing thresholds showed a notch configuration in both classical and rock/jazz musicians indicating the inclusion of high sound levels but an overall well-preserved hearing thresholds. Female musicians had significantly better hearing thresholds in the high-frequency area than males. Rock/jazz musicians showed slight worse hearing thresholds as compared to classical musicians. When assessing hearing disorders, a large number of rock/jazz musicians suffered from different hearing disorders (74%). Hearing loss, tinnitus and hyperacusis were the most common disorders and were significantly more frequent in comparison with different reference populations. Among classical musicians, no extended negative progress of the pure tone hearing threshold values was found in spite of the continued 16 years of musical noise exposure. In rock/jazz musicians, there was no relationships between psychosocial factors at work and hearing disorders. The rock/jazz musicians reported low stress and high degree of energy. On the average, the rock/jazz musicians reported higher control, lower stress and higher energy than a reference material of white-collar workers.

  20. Musician effect in cochlear implant simulated gender categorization

    NARCIS (Netherlands)

    Fuller, Christina D.; Galvin, John J.; Free, Rolien H.; Başkent, Deniz

    Musicians have been shown to better perceive pitch and timbre cues in speech and music, compared to non-musicians. It is unclear whether this "musician advantage" persists under conditions of spectro-temporal degradation, as experienced by cochlear-implant (CI) users. In this study, gender

  1. Musicians as Instrumental Music Teachers: Issues from an Australian Perspective

    Science.gov (United States)

    Watson, Amanda

    2010-01-01

    Instrumental music teaching occupies a significant portion of the protean career of a musician. Musicians teach their instrument in schools, conservatoires and in private studios. The aim of this paper is to identify educational opportunities available for the education of musicians as instrumental music teachers, to discuss issues associated with…

  2. Hearing in nonprofessional pop/rock musicians.

    Science.gov (United States)

    Schmuziger, Nicolas; Patscheke, Jochen; Probst, Rudolf

    2006-08-01

    The purpose of this study was to evaluate the hearing and subjective auditory symptoms in a group of nonprofessional pop/rock musicians who had experienced repeated exposures to intense sound levels during at least 5 yr of musical activity. An evaluation of both ears in 42 nonprofessional pop/rock musicians included pure-tone audiometry in the conventional and extended high-frequency range, the measurement of uncomfortable loudness levels, and an assessment of tinnitus and hypersensitivity to sound. Exclusion criteria were (a) the occurrence of acoustic trauma, (b) excessive noise exposure during occupational activities, (c) a history of recurrent otitis media, (d) previous ear surgery, (e) a fracture of the cranium, (f) ingestion of potentially ototoxic drugs, and (g) reported hearing difficulties within the immediate family. These audiometric results were then compared with a control group of 20 otologically normal young adults with no history of long-term noise exposure. After adjusting for age and gender, relative to ISO 7029, the mean hearing threshold in the frequency range of 3 to 8 kHz was 6 dB in the musicians and 1.5 dB in the control group. This difference was statistically significant (Mann-Whitney rank sum test, p pop/rock musicians who had experienced repeated exposure to intense sound levels over at least 5 yr but with minimal impact on their lives. Moreover, hearing loss was minimal in the subjects who always used ear protection, being only 0.9 dB higher than the control group. In contrast, hearing loss was significantly more pronounced, at 6.7 dB higher than the control group, in those musicians who never used ear protection. Continued education about the risk to hearing and the benefits of the persistent use of ear protection is warranted for musicians who are exposed frequently to intense sound levels.

  3. Reorganization of the thalamocortical network in musicians.

    Science.gov (United States)

    Tanaka, Shoji; Kirino, Eiji

    2017-06-01

    The cortico-thalamocortical network is relevant to music performance in that the network can regulate sensitivity to afferent input or sound, mediate the integration of multimodal information required for the performance, and play a role in skilled performance control. We, therefore, predicted that this network would be reorganized via musical training-induced neuroplasticity. To test this hypothesis, we analyzed resting-state functional connectivity of the thalamocortical network in musicians (n=35) and nonmusicians (n=35). The seed-to-voxel functional connectivity analysis of the left thalamus seed showed enhanced connectivity voxels in the precuneus/posterior cingulate cortex (PCC) in musicians compared with nonmusicians. Region of interest (ROI)-to-ROI functional connectivity analysis showed that the auditory areas were also more strongly connected with the left thalamus in musicians. Discriminant analysis using the ROI-to-ROI functional connectivity data of the precuneus/PCC and auditory areas as predictors yielded an 87% correct discrimination of musicians from nonmusicians. Therefore, we can conclude that, as a consequence of long-term musical training, musicians have a characteristically organized thalamocortical network. The precuneus and PCC are principal nodes of the default mode network and play a pivotal role in the manipulation of mental imagery. We propose that the reorganized thalamocortical network in musicians contributes not only to higher sensitivity to sound but also to the integration of mental imagery with sound, which are both presumed to be important for better music performance. Copyright © 2017 The Authors. Published by Elsevier B.V. All rights reserved.

  4. Sadness is unique: neural processing of emotions in speech prosody in musicians and non-musicians.

    Science.gov (United States)

    Park, Mona; Gutyrchik, Evgeny; Welker, Lorenz; Carl, Petra; Pöppel, Ernst; Zaytseva, Yuliya; Meindl, Thomas; Blautzik, Janusch; Reiser, Maximilian; Bao, Yan

    2014-01-01

    Musical training has been shown to have positive effects on several aspects of speech processing, however, the effects of musical training on the neural processing of speech prosody conveying distinct emotions are yet to be better understood. We used functional magnetic resonance imaging (fMRI) to investigate whether the neural responses to speech prosody conveying happiness, sadness, and fear differ between musicians and non-musicians. Differences in processing of emotional speech prosody between the two groups were only observed when sadness was expressed. Musicians showed increased activation in the middle frontal gyrus, the anterior medial prefrontal cortex, the posterior cingulate cortex and the retrosplenial cortex. Our results suggest an increased sensitivity of emotional processing in musicians with respect to sadness expressed in speech, possibly reflecting empathic processes.

  5. Sadness is unique: Neural processing of emotions in speech prosody in musicians and non-musicians

    Directory of Open Access Journals (Sweden)

    Mona ePark

    2015-01-01

    Full Text Available Musical training has been shown to have positive effects on several aspects of speech processing, however, the effects of musical training on the neural processing of speech prosody conveying distinct emotions are yet to be better understood. We used functional magnetic resonance imaging (fMRI to investigate whether the neural responses to speech prosody conveying happiness, sadness, and fear differ between musicians and non-musicians. Differences in processing of emotional speech prosody between the two groups were only observed when sadness was expressed. Musicians showed increased activation in the middle frontal gyrus, the anterior medial prefrontal cortex, the posterior cingulate cortex and the retrosplenial cortex. Our results suggest an increased sensitivity of emotional processing in musicians with respect to sadness expressed in speech, possibly reflecting empathic processes.

  6. Sadness is unique: neural processing of emotions in speech prosody in musicians and non-musicians

    OpenAIRE

    Park, Mona; Gutyrchik, Evgeny; Welker, Lorenz; Carl, Petra; Pöppel, Ernst; Zaytseva, Yuliya; Meindl, Thomas; Blautzik, Janusch; Reiser, Maximilian; Bao, Yan

    2015-01-01

    Musical training has been shown to have positive effects on several aspects of speech processing, however, the effects of musical training on the neural processing of speech prosody conveying distinct emotions are yet to be better understood. We used functional magnetic resonance imaging (fMRI) to investigate whether the neural responses to speech prosody conveying happiness, sadness, and fear differ between musicians and non-musicians. Differences in processing of emotional speech prosody be...

  7. Sadness is unique: Neural processing of emotions in speech prosody in musicians and non-musicians

    OpenAIRE

    Mona ePark; Mona ePark; Mona ePark; Evgeny eGutyrchik; Evgeny eGutyrchik; Evgeny eGutyrchik; Lorenz eWelker; Lorenz eWelker; Petra eCarl; Petra eCarl; Ernst ePöppel; Ernst ePöppel; Ernst ePöppel; Ernst ePöppel; Ernst ePöppel

    2015-01-01

    Musical training has been shown to have positive effects on several aspects of speech processing, however, the effects of musical training on the neural processing of speech prosody conveying distinct emotions are yet to be better understood. We used functional magnetic resonance imaging (fMRI) to investigate whether the neural responses to speech prosody conveying happiness, sadness, and fear differ between musicians and non-musicians. Differences in processing of emotional speech prosody be...

  8. Executive Function, Visual Attention and the Cocktail Party Problem in Musicians and Non-Musicians

    Science.gov (United States)

    Clayton, Kameron K.; Swaminathan, Jayaganesh; Yazdanbakhsh, Arash; Zuk, Jennifer; Patel, Aniruddh D.; Kidd, Gerald

    2016-01-01

    The goal of this study was to investigate how cognitive factors influence performance in a multi-talker, “cocktail-party” like environment in musicians and non-musicians. This was achieved by relating performance in a spatial hearing task to cognitive processing abilities assessed using measures of executive function (EF) and visual attention in musicians and non-musicians. For the spatial hearing task, a speech target was presented simultaneously with two intelligible speech maskers that were either colocated with the target (0° azimuth) or were symmetrically separated from the target in azimuth (at ±15°). EF assessment included measures of cognitive flexibility, inhibition control and auditory working memory. Selective attention was assessed in the visual domain using a multiple object tracking task (MOT). For the MOT task, the observers were required to track target dots (n = 1,2,3,4,5) in the presence of interfering distractor dots. Musicians performed significantly better than non-musicians in the spatial hearing task. For the EF measures, musicians showed better performance on measures of auditory working memory compared to non-musicians. Furthermore, across all individuals, a significant correlation was observed between performance on the spatial hearing task and measures of auditory working memory. This result suggests that individual differences in performance in a cocktail party-like environment may depend in part on cognitive factors such as auditory working memory. Performance in the MOT task did not differ between groups. However, across all individuals, a significant correlation was found between performance in the MOT and spatial hearing tasks. A stepwise multiple regression analysis revealed that musicianship and performance on the MOT task significantly predicted performance on the spatial hearing task. Overall, these findings confirm the relationship between musicianship and cognitive factors including domain-general selective attention and

  9. Neural correlates of strategy use during auditory working memory in musicians and non-musicians.

    Science.gov (United States)

    Schulze, K; Mueller, K; Koelsch, S

    2011-01-01

    Working memory (WM) performance in humans can be improved by structuring and organizing the material to be remembered. For visual and verbal information, this process of structuring has been associated with the involvement of a prefrontal-parietal network, but for non-verbal auditory material, the brain areas that facilitate WM for structured information have remained elusive. Using functional magnetic resonance imaging, this study compared neural correlates underlying encoding and rehearsal of auditory WM for structured and unstructured material. Musicians and non-musicians performed a WM task on five-tone sequences that were either tonally structured (with all tones belonging to one tonal key) or tonally unstructured (atonal) sequences. Functional differences were observed for musicians (who are experts in the music domain), but not for non-musicians - The right pars orbitalis was activated more strongly in musicians during the encoding of unstructured (atonal) vs. structured (tonal) sequences. In addition, data for musicians showed that a lateral (pre)frontal-parietal network (including the right premotor cortex, right inferior precentral sulcus and left intraparietal sulcus) was activated during WM rehearsal of structured, as compared with unstructured, sequences. Our findings indicate that this network plays a role in strategy-based WM for non-verbal auditory information, corroborating previous results showing a similar network for strategy-based WM for visual and verbal information. © 2010 The Authors. European Journal of Neuroscience © 2010 Federation of European Neuroscience Societies and Blackwell Publishing Ltd.

  10. Functional network interactions during sensorimotor synchronization in musicians and non-musicians.

    Science.gov (United States)

    Krause, Vanessa; Schnitzler, Alfons; Pollok, Bettina

    2010-08-01

    Precise timing as determined by sensorimotor synchronization is crucial for a wide variety of activities. Although it is well-established that musicians show superior timing as compared to non-musicians, the neurophysiological foundations - in particular the underlying functional brain network - remain to be characterized. To this end, drummers, professional pianists and non-musicians performed an auditory synchronization task while neuromagnetic activity was measured using a 122-channel whole-head magnetoencephalography (MEG) system. The underlying functional brain network was determined using the beamformer approach Dynamic Imaging of Coherent Sources (DICS). Behaviorally, drummers performed less variably than non-musicians. Neuromagnetic analysis revealed a cerebello-thalamo-cortical network in all subjects comprising bilateral primary sensorimotor cortices (S1/M1), contralateral supplementary motor and premotor regions (SMA and PMC), thalamus, posterior parietal cortex (PPC), ipsilateral cerebellum and bilateral auditory cortices. Stronger PMC-thalamus and PPC-thalamus interactions at alpha and beta frequencies were evident in drummers as compared to non-musicians. In professional pianists stronger PMC-thalamus interaction as compared to non-musicians at beta frequency occurred. The present data suggest that precise timing is associated with increased functional interaction within a PMC-thalamus-PPC network. The PMC-thalamus connectivity at beta frequency might be related to musical expertise, whereas the PPC-thalamus interaction might have specific relevance for precise timing. Copyright 2010 Elsevier Inc. All rights reserved.

  11. Når coaching swinger

    Directory of Open Access Journals (Sweden)

    Line Fredens

    2015-12-01

    Full Text Available This article describes and analyzes the improvisational and innovative process that takes place between pro-fessional musicians during the extraordinary concert. The aim is to draw parallels to the professional coachingconversation in order to examine what new angles this analogy can contribute in proportion to coaching asa practice. In other words, how can an analysis of the musician’s communication during a successful concertshed light on what is happening in a successful professional dialogue.The article contains both empirical data and theory. The empirical data comes to results from a qualitativestudy undertaken in connection with my thesis within the Master of Learning Processes Specializing in Orga-nizational Coaching at Aalborg University, and is based on interviews with five professional orchestra musi-cians from the Royal Danish Orchestra, the Copenhagen Phil and the Danish National Symphony Orchestra

  12. COACHING A MUSICAL MINDSET

    Directory of Open Access Journals (Sweden)

    Line Fredens

    2017-01-01

    Full Text Available This article describes and analyzes the improvisational and innovative process that takes place among professional musicians during the extraordinary concert. The aim is to draw parallels to the professional coaching conversation in order to examine what new angles this analogy can contribute in proportion to coaching as a practice. In other words, how can an analysis of the musician’s communication during a successful concert shed light on what is happening in a successful professional dialogue. The article contains both empirical data and theory. The empirical data comes to results from a qualitative study undertaken in connection with my thesis within the Master of Learning Processes Specializing in Organizational Coaching at Aalborg University, and is based on interviews with five professional orchestra musicians from the Royal Danish Orchestra, the Copenhagen Phil and the Danish National Symphony Orchestra

  13. The Musician, the Researcher and the Psychologist

    DEFF Research Database (Denmark)

    Uddholm, Mats

    The Musician, the Researcher and the Psychologist The aim of this presentation is to illuminate and discuss some connections between the therapeutic profession and development of music pedagogic theory. A topic that initially emerged as a result of a sub-study in my PhD -project about professiona...

  14. Musicians as lifelong learners: discovery through biography

    NARCIS (Netherlands)

    Rineke Smilde

    2009-01-01

    Today musicians face major changes in their professional life, confronted with questions of how to function flexibly and exploit opportunities in the rapidly changing cultural context. To this end, the concept of lifelong learning is being investigated within this study. Biographical research into

  15. Enhanced Syllable Discrimination Thresholds in Musicians

    Science.gov (United States)

    Kim, Heesoo; Lakshminarayanan, Kala; Gabrieli, John D. E.; Tallal, Paula; Gaab, Nadine

    2013-01-01

    Speech processing inherently relies on the perception of specific, rapidly changing spectral and temporal acoustic features. Advanced acoustic perception is also integral to musical expertise, and accordingly several studies have demonstrated a significant relationship between musical training and superior processing of various aspects of speech. Speech and music appear to overlap in spectral and temporal features; however, it remains unclear which of these acoustic features, crucial for speech processing, are most closely associated with musical training. The present study examined the perceptual acuity of musicians to the acoustic components of speech necessary for intra-phonemic discrimination of synthetic syllables. We compared musicians and non-musicians on discrimination thresholds of three synthetic speech syllable continua that varied in their spectral and temporal discrimination demands, specifically voice onset time (VOT) and amplitude envelope cues in the temporal domain. Musicians demonstrated superior discrimination only for syllables that required resolution of temporal cues. Furthermore, performance on the temporal syllable continua positively correlated with the length and intensity of musical training. These findings support one potential mechanism by which musical training may selectively enhance speech perception, namely by reinforcing temporal acuity and/or perception of amplitude rise time, and implications for the translation of musical training to long-term linguistic abilities. PMID:24339875

  16. Gender Association with Stringed Instruments: A Four-Decade Analysis of Texas All-State Orchestras

    Science.gov (United States)

    Baker, Vicki D.

    2012-01-01

    The purpose of this study was to track the gender makeup of the five string sections (Violin 1, Violin 2, Viola, Cello, and String Bass) of Texas Music Educators Association (TMEA) All-State Orchestras from 1971 to 2010, to determine if a clear gender stereotype was evident in any of the sections and if there had been a trend towards a change in…

  17. DIGEST MATERIALS FOR IMPROVING AND EXTENDING THE JUNIOR HIGH SCHOOL ORCHESTRA REPERTORY. VOLUME 3, ROMANTIC.

    Science.gov (United States)

    MOORE, JUNE

    PREPARED AS PART OF "PROJECT IMPROVING AND EXTENDING THE JUNIOR HIGH SCHOOL ORCHESTRA REPERTORY," THIS VOLUME CONTAINS CURRICULAR MATERIALS REPRESENTING THE ROMANTIC PERIOD. A MUSICAL HISTORY OF THE PERIOD IS GIVEN, AS WELL AS HISTORIES OF THE COMPOSERS AND THEIR INDIVIDUAL COMPOSITIONS. THE MATERIALS ARE PREPARED FOR THREE DEGREES OF TECHNICAL…

  18. DIGEST MATERIALS FOR IMPROVING AND EXTENDING THE JUNIOR HIGH SCHOOL ORCHESTRA REPERTORY. VOLUME 2, CLASSICAL.

    Science.gov (United States)

    MOORE, JUNE

    PREPARED AS PART OF "PROJECT IMPROVING AND EXTENDING THE JUNIOR HIGH SCHOOL ORCHESTRA REPERTORY," THIS VOLUME CONTAINS CURRICULAR MATERIALS REPRESENTING THE CLASSICAL PERIOD. A HISTORY OF THE PERIOD IS GIVEN, AS WELL AS HISTORIES OF THE COMPOSERS AND THEIR INDIVIDUAL COMPOSITIONS. THE MATERIALS ARE PREPARED FOR FOUR DEGREES OF TECHNICAL…

  19. Bruckner: Simfonie N8 c-moll, London Philharmonic Orchestra, Neeme Järvi / Martin Elste

    Index Scriptorium Estoniae

    Elste, Martin

    1990-01-01

    Uuest heliplaadist "Bruckner: Simfonie N8 c-moll; Reger: Variationen und Fuge über ein Thema von Beethoven op. 86. London Philharmonic Orchestra, Neeme Järvi". Chandos/ Koch Records 2 CD 8843/44 (WD: 107'13") DDD

  20. The Effect of Three Orchestra/School Partnerships on Students' Interest in Instrumental Music Instruction

    Science.gov (United States)

    Abeles, Hal

    2004-01-01

    This study is an examination of the influence of three orchestra/school partnerships on students' interest in instrumental music. A vocational choice school was used to assess students' interest in instrumental music. Surveys were administered to second- through fourth-grade students at partnership and nonpartnership schools. Results indicated…

  1. Compromises in orchestra pit design: A ten-year trench war in The Royal Theatre, Copenhagen

    DEFF Research Database (Denmark)

    Gade, Anders Christian; Mortensen, Bo

    1998-01-01

    The ``old stage'' of The Royal Theatre in Copenhagen-a classical horseshoe theatre with an almost flat audience floor and four balcony levels—is the primary opera and ballet theatre in Denmark. In the early 1980s the orchestra pit was enlarged and its size made flexible. However, in the following...

  2. So What's New? A Survey of the Educational Policies of Orchestras and Opera Companies

    Science.gov (United States)

    Winterson, Julia

    2010-01-01

    The creative music workshop involving professional players was intended to give direct support to school teachers and to enhance music in the classroom. However, today's large-scale, high-profile projects mounted by orchestras and opera companies appear to be developing into a full-scale industry on their own, their role in partnership with…

  3. Empowering or Boring? Discipline and Authority in a Portuguese Sistema-Inspired Orchestra Rehearsal

    Science.gov (United States)

    Boia, Pedro S.; Boal-Palheiros, Graça

    2017-01-01

    El Sistema orchestras may be "transformative" and produce positive changes in the lives of young participants, but there are also negative aspects to discipline and authority that may lead to exclusion. This article positions itself within the current debate on Sistema by treating symmetrically its potentially positive and negative…

  4. A comparative study on the prevalence of musculoskeletal complaints among musicians and non-musicians

    Directory of Open Access Journals (Sweden)

    Kok Laura M

    2013-01-01

    Full Text Available Abstract Background Research comparing the frequency of musculoskeletal complaints between musicians and non-musicians is scarce. The aim of this study was to compare the prevalence of musculoskeletal complaints between musicians and non-musicians. Methods A cross-sectional study in 3215 students from three music academies (n = 345 and one medical school (n = 2870 in The Netherlands was performed, using an electronic questionnaire. The questionnaire included socio-demographic characteristics, use of music instruments and the occurrence of musculoskeletal complaints in six body regions. Questions were related to musculoskeletal complaints over the last twelve months and at the time of the questionnaire. Chi-square, t-tests and Kruskal-Wallis tests were used for comparison between the two groups. The association between musculoskeletal complaints and possible predictors was analyzed using a logistic and Poisson regression. Results Eighty-seven music academy students and 503 medical students returned the questionnaire, of which respectively eighty-three and 494 were included in the study. Seventy-four music academy students (89.2% reported one or more musculoskeletal complaints during the last twelve months, compared to 384 (77.9% medical students (p = 0.019. Moreover 52 music academy students (62.7% and 211 medical students (42.7% reported current musculoskeletal complaints (p = 0.001. The Odds ratio (OR for the development of musculoskeletal complaints during the last twelve months in music academy students versus medical students is 2.33 (95% CI 1.61–3.05, p = 0.022. The OR at the time of the questionnaire is 2.25 (95% CI 1.77–2.73, p = 0.001. The total number of complaints have been modeled by employing a Poisson regression; the results show that non-musicians have on average less complaints than musicians (p = 0.01. The adjusted means are 2.90 (95% CI 2.18–3.63 and 1.83 (95% CI 1.63–2.04 respectively for

  5. Classical Music at a German Inner-City School: The German Philharmonic Chamber Orchestra Bremen at Comprehensive School Bremen East

    Directory of Open Access Journals (Sweden)

    Anna-Lena Musiol

    2013-12-01

    Full Text Available The German Philharmonic Chamber Orchestra Bremen, a world famous orchestra for classical music, and the Comprehensive School Bremen East, a school in a deprived area, in North American terms an inner-city school, are cooperating since 2007. A three-year follow-up evaluation study was conducted to find out, if projects facilitated by the presence of the orchestra have a positive impact on the self-reported well-being and the grades of students. Results showed that involvement in the projects distinctly benefited boys: They experience a better class climate and a higher satisfaction with school as well as improved German grades.

  6. Movement induced tremor in musicians and non-musicians reflects adaptive brain plasticity.

    Science.gov (United States)

    Lee, André; Schoonderwaldt, Erwin; Chadde, Mareike; Altenmüller, Eckart

    2014-01-01

    Evidence exists that motor dexterity is associated with a higher tremor amplitude of physiological tremor. Likewise, lower frequencies are associated with motor control. So far only case reports of a higher amplitude of physiological tremor in musicians exist. Moreover, no study has investigated lower frequencies during a finger movement task in musicians who can be regarded as a model of motor expertise. We developed a model and derived three hypotheses which we investigated in this study: (1) Tremor amplitude is higher in the range of physiological tremor and (2) higher for frequency ranges of dystonic tremor in musicians compared to non-musicians; (3) there is no difference in tremor amplitude at frequencies below 4 Hz. We measured tremor during a finger flexion-extension movement in 19 musicians (age 26.5 ± 8.2 years) and 24 age matched non-musicians (age 26.5 ± 8.7). By using empirical mode decomposition in combination with a Hilbert transform we obtained the instantaneous frequency and amplitude, allowing to compare tremor amplitudes throughout the movement at various frequency ranges. We found a significantly higher tremor amplitude in musicians for physiological tremor and a tendency toward a higher amplitude during most of the movement in the frequency range of 4-8 Hz, which, however, was not significant. No difference was found in the frequency range below 4 Hz for the flexion and for almost the entire extension movement. Our results corroborate findings that the 8-12 Hz oscillatory activity plays a role in motor dexterity. However, our results do not allow for the conclusion that tremor at the frequency range of 4-8 Hz is related to either plasticity induced changes that are beneficial for motor skill development nor to maladaptive changes as, e.g., focal dystonia.

  7. Movement induced tremor in musicians and non-musicians reflects adaptive brain plasticity

    Directory of Open Access Journals (Sweden)

    André eLee

    2014-07-01

    Full Text Available Evidence exists that motor dexterity is associated with a higher tremor amplitude of physiological tremor. Likewise, lower frequencies are associated with motor control. So far only case reports of a higher amplitude of physiological tremor in musicians exist. Moreover, no study has investigated lower frequencies during a finger movement task in musicians who can be regarded as a model of motor expertise. We developed a model and derived 3 hypotheses which we investigated in this study: 1 Tremor amplitude is higher in the range of physiological tremor and 2 higher for frequency ranges of dystonic tremor in musicians compared to non-musicians; 3 there is no difference in tremor amplitude at frequencies below 4Hz. We measured tremor during a finger flexion-extension movement in 19 musicians (age 26.5±8.2 years and 24 age matched non-musicians (age 26.5±8.7. By using empirical mode decomposition in combination with a Hilbert transform we obtained the instantaneous frequency and amplitude, allowing to compare tremor amplitudes throughout the movement at various frequency ranges. We found a significantly higher tremor amplitude in musicians for physiological tremor and a tendency towards a higher amplitude during most of the movement in the frequency range of 4-8Hz , which however was not significant. No difference was found in the frequency range below 4Hz for the flexion and for almost the entire extension movement. Our results corroborate findings that the 8-12Hz oscillatory activity plays a role in motor dexterity. However, our results do not allow for the conclusion that tremor at the frequency range of 4-8Hz is related to either plasticity induced changes that are beneficial for motor skill development nor to maladaptive changes as e.g. focal dystonia.

  8. The theory of reference values: an unfinished symphony.

    Science.gov (United States)

    Siest, Gerard; Henny, Joseph; Gräsbeck, Ralph; Wilding, Peter; Petitclerc, Claude; Queraltó, Josep M; Hyltoft Petersen, Peter

    2013-01-01

    The history of the theory of reference values can be written as an unfinished symphony. The first movement, allegro con fuoco, played from 1960 to 1980: a mix of themes devoted to the study of biological variability (intra-, inter-individual, short- and long-term), preanalytical conditions, standardization of analytical methods, quality control, statistical tools for deriving reference limits, all of them complex variations developed on a central melody: the new concept of reference values that would replace the notion of normality whose definition was unclear. Additional contributions (multivariate reference values, use of reference limits from broad sets of patient data, drug interferences) conclude the movement on the variability of laboratory tests. The second movement, adagio, from 1980 to 2000, slowly develops and implements initial works. International and national recommendations were published by the IFCC-LM (International Federation of Clinical Chemistry and Laboratory Medicine) and scientific societies [French (SFBC), Spanish (SEQC), Scandinavian societies…]. Reference values are now topics of many textbooks and of several congresses, workshops, and round tables that are organized all over the world. Nowadays, reference values are part of current practice in all clinical laboratories, but not without difficulties, particularly for some laboratories to produce their own reference values and the unsuitability of the concept with respect to new technologies such as HPLC, GCMS, and PCR assays. Clinicians through consensus groups and practice guidelines have introduced their own tools, the decision limits, likelihood ratios and Reference Change Value (RCV), creating confusion among laboratorians and clinicians in substituting reference values and decision limits in laboratory reports. The rapid development of personalized medicine will eventually call for the use of individual reference values. The beginning of the second millennium is played allegro ma non

  9. Relationships between behavior, brainstem and cortical encoding of seen and heard speech in musicians and non-musicians.

    Science.gov (United States)

    Musacchia, Gabriella; Strait, Dana; Kraus, Nina

    2008-07-01

    Musicians have a variety of perceptual and cortical specializations compared to non-musicians. Recent studies have shown that potentials evoked from primarily brainstem structures are enhanced in musicians, compared to non-musicians. Specifically, musicians have more robust representations of pitch periodicity and faster neural timing to sound onset when listening to sounds or both listening to and viewing a speaker. However, it is not known whether musician-related enhancements at the subcortical level are correlated with specializations in the cortex. Does musical training shape the auditory system in a coordinated manner or in disparate ways at cortical and subcortical levels? To answer this question, we recorded simultaneous brainstem and cortical evoked responses in musician and non-musician subjects. Brainstem response periodicity was related to early cortical response timing across all subjects, and this relationship was stronger in musicians. Peaks of the brainstem response evoked by sound onset and timbre cues were also related to cortical timing. Neurophysiological measures at both levels correlated with musical skill scores across all subjects. In addition, brainstem and cortical measures correlated with the age musicians began their training and the years of musical practice. Taken together, these data imply that neural representations of pitch, timing and timbre cues and cortical response timing are shaped in a coordinated manner, and indicate corticofugal modulation of subcortical afferent circuitry.

  10. Cognitive control in auditory working memory is enhanced in musicians

    DEFF Research Database (Denmark)

    Pallesen, Karen Johanne; Brattico, Elvira; Bailey, Christopher J.

    2010-01-01

    Musical competence may confer cognitive advantages that extend beyond processing of familiar musical sounds. Behavioural evidence indicates a general enhancement of both working memory and attention in musicians. It is possible that musicians, due to their training, are better able to maintain...... focus on task-relevant stimuli, a skill which is crucial to working memory. We measured the blood oxygenation-level dependent (BOLD) activation signal in musicians and non-musicians during working memory of musical sounds to determine the relation among performance, musical competence and generally...... hemisphere, and bilaterally in the posterior dorsal prefrontal cortex and anterior cingulate gyrus. The relationship between the task performance and the magnitude of the BOLD response was more positive in musicians than in non-musicians, particularly during the most difficult working memory task...

  11. Lemba, Artur: Concerto for piano no. 1 in G / Guy S. Rickards

    Index Scriptorium Estoniae

    Rickards, Guy S.

    1998-01-01

    Uuest heliplaadist "Lemba, Artur: Concerto for piano no. 1 in G; Tubin, Eduard: Concertino forpiano and orchestra; Sumera, Lepo: Concerto for piano and orchestra. Lauri Väinmaa, piano, Estonian National Symphony Orchestra, Arvo Volmer". Finlandia 3984-20684-2

  12. Auditory alterations for occupational exposition in musicians

    Directory of Open Access Journals (Sweden)

    Melo, Ana Dolores Passarelli

    2008-09-01

    Full Text Available Introduction: Exposure to music has become an interest among experts in hearing and acoustics, once it's related to the professional and social activity and to the high prevalence of Hearing Loss. Objective: To investigate musicians auditory health. Method: 30 musicians participated in the study and were submitted to specific interview, conventional and highfrequency tonal audiometry, tympanometry and transient-evoked and distortion-produced otoacoustic emissions. Results: 17% of the participants presented an audiogram that suggested Noise-Induced Hearing Loss, 7% normal with notch and 7% with other characteristics. The frequency thresholds average of 3, 4 and 6kHz presented a more intense level when compared to the one of 500, 1 and 2kHz; as well as the high frequency audiometry thresholds average when compared to the conventional audiometry. There was a threshold positive correlation with the age and time of profession. There hasn't been found transiently evoked otoacoustic emissions in 26,7% (right ear and 23,3% (left ear, as well as in isolated frequencies in distortion-produced evoked otoacoustic emissions. Conclusion: Alterations were observed in tests with no complaints of hearing difficulties; the otoacoustic emissions test presented more sensitivity in the early detection of hearing alterations; musicians present a significant risk of developing hearing loss.

  13. Vestibular Findings in Military Band Musicians

    Directory of Open Access Journals (Sweden)

    Zeigelboim, Bianca Simone

    2014-04-01

    Full Text Available Introduction Exposure to music is the subject of many studies because it is related to an individual's professional and social activities. Objectives Evaluate the vestibular behavior in military band musicians. Methods A retrospective cross-sectional study was performed. Nineteen musicians with ages ranging from 21 to 46 years were evaluated (average = 33.7 years and standard deviation = 7.2 years. They underwent anamnesis and vestibular and otolaryngologic evaluation through vectoelectronystagmography. Results The most evident otoneurologic symptoms in the anamnesis were tinnitus (84.2%, hearing difficulties (47.3%, dizziness (36.8%, headache (26.3%, intolerance to intense sounds (21.0%, and earache (15.7%. Seven musicians (37.0% showed vestibular abnormality, which occurred in the caloric test. The abnormality was more prevalent in the peripheral vestibular system, and there was a predominance of irritative peripheral vestibular disorders. Conclusion The alteration in vestibular exam occurred in the caloric test (37.0%. There were changes in the prevalence of peripheral vestibular system with a predominance of irritative vestibular dysfunction. Dizziness was the most significant symptom for the vestibular test in correlation with neurotologic symptoms. The present study made it possible to verify the importance of the labyrinthine test, which demonstrates that this population should be better studied because the systematic exposure to high sound pressure levels may cause major vestibular alterations.

  14. Temporal Resolution and Active Auditory Discrimination Skill in Vocal Musicians

    Directory of Open Access Journals (Sweden)

    Kumar, Prawin

    2015-12-01

    Full Text Available Introduction Enhanced auditory perception in musicians is likely to result from auditory perceptual learning during several years of training and practice. Many studies have focused on biological processing of auditory stimuli among musicians. However, there is a lack of literature on temporal resolution and active auditory discrimination skills in vocal musicians. Objective The aim of the present study is to assess temporal resolution and active auditory discrimination skill in vocal musicians. Method The study participants included 15 vocal musicians with a minimum professional experience of 5 years of music exposure, within the age range of 20 to 30 years old, as the experimental group, while 15 age-matched non-musicians served as the control group. We used duration discrimination using pure-tones, pulse-train duration discrimination, and gap detection threshold tasks to assess temporal processing skills in both groups. Similarly, we assessed active auditory discrimination skill in both groups using Differential Limen of Frequency (DLF. All tasks were done using MATLab software installed in a personal computer at 40dBSL with maximum likelihood procedure. The collected data were analyzed using SPSS (version 17.0. Result Descriptive statistics showed better threshold for vocal musicians compared with non-musicians for all tasks. Further, independent t-test showed that vocal musicians performed significantly better compared with non-musicians on duration discrimination using pure tone, pulse train duration discrimination, gap detection threshold, and differential limen of frequency. Conclusion The present study showed enhanced temporal resolution ability and better (lower active discrimination threshold in vocal musicians in comparison to non-musicians.

  15. Auditory and visual memory in musicians and nonmusicians

    OpenAIRE

    Cohen, Michael A.; Evans, Karla K.; Horowitz, Todd S.; Wolfe, Jeremy M.

    2011-01-01

    Numerous studies have shown that musicians outperform nonmusicians on a variety of tasks. Here we provide the first evidence that musicians have superior auditory recognition memory for both musical and nonmusical stimuli, compared to nonmusicians. However, this advantage did not generalize to the visual domain. Previously, we showed that auditory recognition memory is inferior to visual recognition memory. Would this be true even for trained musicians? We compared auditory and visual memory ...

  16. Temporal Resolution and Active Auditory Discrimination Skill in Vocal Musicians.

    Science.gov (United States)

    Kumar, Prawin; Sanju, Himanshu Kumar; Nikhil, J

    2016-10-01

    Introduction  Enhanced auditory perception in musicians is likely to result from auditory perceptual learning during several years of training and practice. Many studies have focused on biological processing of auditory stimuli among musicians. However, there is a lack of literature on temporal resolution and active auditory discrimination skills in vocal musicians. Objective  The aim of the present study is to assess temporal resolution and active auditory discrimination skill in vocal musicians. Method  The study participants included 15 vocal musicians with a minimum professional experience of 5 years of music exposure, within the age range of 20 to 30 years old, as the experimental group, while 15 age-matched non-musicians served as the control group. We used duration discrimination using pure-tones, pulse-train duration discrimination, and gap detection threshold tasks to assess temporal processing skills in both groups. Similarly, we assessed active auditory discrimination skill in both groups using Differential Limen of Frequency (DLF). All tasks were done using MATLab software installed in a personal computer at 40dBSL with maximum likelihood procedure. The collected data were analyzed using SPSS (version 17.0). Result  Descriptive statistics showed better threshold for vocal musicians compared with non-musicians for all tasks. Further, independent t -test showed that vocal musicians performed significantly better compared with non-musicians on duration discrimination using pure tone, pulse train duration discrimination, gap detection threshold, and differential limen of frequency. Conclusion  The present study showed enhanced temporal resolution ability and better (lower) active discrimination threshold in vocal musicians in comparison to non-musicians.

  17. Cognitive control in auditory working memory is enhanced in musicians.

    Science.gov (United States)

    Pallesen, Karen Johanne; Brattico, Elvira; Bailey, Christopher J; Korvenoja, Antti; Koivisto, Juha; Gjedde, Albert; Carlson, Synnöve

    2010-06-15

    Musical competence may confer cognitive advantages that extend beyond processing of familiar musical sounds. Behavioural evidence indicates a general enhancement of both working memory and attention in musicians. It is possible that musicians, due to their training, are better able to maintain focus on task-relevant stimuli, a skill which is crucial to working memory. We measured the blood oxygenation-level dependent (BOLD) activation signal in musicians and non-musicians during working memory of musical sounds to determine the relation among performance, musical competence and generally enhanced cognition. All participants easily distinguished the stimuli. We tested the hypothesis that musicians nonetheless would perform better, and that differential brain activity would mainly be present in cortical areas involved in cognitive control such as the lateral prefrontal cortex. The musicians performed better as reflected in reaction times and error rates. Musicians also had larger BOLD responses than non-musicians in neuronal networks that sustain attention and cognitive control, including regions of the lateral prefrontal cortex, lateral parietal cortex, insula, and putamen in the right hemisphere, and bilaterally in the posterior dorsal prefrontal cortex and anterior cingulate gyrus. The relationship between the task performance and the magnitude of the BOLD response was more positive in musicians than in non-musicians, particularly during the most difficult working memory task. The results confirm previous findings that neural activity increases during enhanced working memory performance. The results also suggest that superior working memory task performance in musicians rely on an enhanced ability to exert sustained cognitive control. This cognitive benefit in musicians may be a consequence of focused musical training.

  18. Cognitive control in auditory working memory is enhanced in musicians.

    Directory of Open Access Journals (Sweden)

    Karen Johanne Pallesen

    Full Text Available Musical competence may confer cognitive advantages that extend beyond processing of familiar musical sounds. Behavioural evidence indicates a general enhancement of both working memory and attention in musicians. It is possible that musicians, due to their training, are better able to maintain focus on task-relevant stimuli, a skill which is crucial to working memory. We measured the blood oxygenation-level dependent (BOLD activation signal in musicians and non-musicians during working memory of musical sounds to determine the relation among performance, musical competence and generally enhanced cognition. All participants easily distinguished the stimuli. We tested the hypothesis that musicians nonetheless would perform better, and that differential brain activity would mainly be present in cortical areas involved in cognitive control such as the lateral prefrontal cortex. The musicians performed better as reflected in reaction times and error rates. Musicians also had larger BOLD responses than non-musicians in neuronal networks that sustain attention and cognitive control, including regions of the lateral prefrontal cortex, lateral parietal cortex, insula, and putamen in the right hemisphere, and bilaterally in the posterior dorsal prefrontal cortex and anterior cingulate gyrus. The relationship between the task performance and the magnitude of the BOLD response was more positive in musicians than in non-musicians, particularly during the most difficult working memory task. The results confirm previous findings that neural activity increases during enhanced working memory performance. The results also suggest that superior working memory task performance in musicians rely on an enhanced ability to exert sustained cognitive control. This cognitive benefit in musicians may be a consequence of focused musical training.

  19. Performing arts medicine - instrumentalist musicians part I - general considerations.

    Science.gov (United States)

    Dommerholt, Jan

    2009-10-01

    Performing arts medicine is a relatively new specialty addressing the medical needs of dancers, musicians, ice skaters, and gymnasts. This paper focuses on the role of healthcare providers in the diagnosis and therapeutic management of instrumentalist musicians. Musicians are at high risk for developing painful musculoskeletal problems, including pain and overuse injuries, entrapment and peripheral neuropathies, and focal dystonias. Musicians' careers are threatened, when they are no longer able to play their instrument because of pain and dysfunction. To appreciate music-related injuries, it is important that clinicians are familiar with the context of musicians' injuries and disorders. This is the first paper in a series of three. This paper discusses the importance of taking an extended history. The typical history procedures need to be broadened when interviewing musicians, and should include instrument-specific questions, and questions regarding practice habits, education, repertoire, and employment. The second article addresses the physical examination, while the third article provides three case reports of musicians with hand problems, which serve to illustrate the points made in the first two articles. The articles are illustrated with several tables and photographs of musicians to assist the reader in assessing instrumentalist musicians and determining the most appropriate course of action.

  20. Yoga reduces performance anxiety in adolescent musicians.

    Science.gov (United States)

    Khalsa, Sat Bir S; Butzer, Bethany; Shorter, Stephanie M; Reinhardt, Kristen M; Cope, Stephen

    2013-01-01

    Professional musicians often experience high levels of stress, music performance anxiety (MPA), and performance-related musculoskeletal disorders (PRMDs). Given the fact that most professional musicians begin their musical training before the age of 12, it is important to identify interventions that will address these issues from an early age. This study intended to replicate and expand upon adult research in this area by evaluating the effects of a yoga intervention on MPA and PRMDs in a population of adolescent musicians. The present study was the first to examine these effects. The research team assigned participants, adolescent musicians, into two groups. The intervention group (n = 84) took part in a 6-wk yoga program, and the control group (n = 51) received no treatment. The team evaluated the effects of the yoga intervention by comparing the scores of the intervention group to those of the control group on a number of questionnaires related to MPA and PRMDs. The study was conducted at the Boston University Tanglewood Institute (BUTI). BUTI is a training academy for advanced adolescent musicians, located in Lenox, Massachusetts. Participants were adolescent, residential music students (mean age = 16 y) in a 6-wk summer program at the BUTI in 2007 and 2008. Participants in the yoga intervention group were requested to attend three, 60-min, Kripalustyle yoga classes each wk for 6 wk. MPA was measured using the Performance Anxiety Questionnaire (PAQ) and the Music Performance Anxiety Inventory for Adolescents (MPAI-A). PRMDs were measured using the Performance-Related Musculoskeletal Disorders Questionnaire (PRMD-Q). RESULTS • Yoga participants showed statistically significant reductions in MPA from baseline to the end of the program compared to the control group, as measured by several subscales of the PAQ and MPAI-A; however, the results for PRMDs were inconsistent. The findings suggest that yoga may be a promising way for adolescents to reduce MPA and

  1. [Reasons why musicians consult hand surgeons].

    Science.gov (United States)

    Nourissat, G; Chamagne, P; Dumontier, C

    2003-10-01

    Musicians occasionally consult orthopedic surgeons, particularly upper limb specialists. We wanted to learn more about the reasons why musicians attend orthopedic clinics. We analyzed retrospectively 227 case files of musicians who consulted our center between 1994 and 2001. We noted patient related factors (age, gender, musical experience, level of performance, daily practice schedule) and their reasons for consulting (pain, discomfort, advice). We studied the medical history of the patients and searched for predisposing or triggering elements. We also recorded therapeutic options proposed. Our series included 119 men (52%) and 108 women, mean age 35 years with 27 years of musical experience on the average. Instruments played were mainly the piano (41%), the violin (19%), and the guitar (15%). Patients playing wind instruments, who consult more often for ENT problems, were exceptional. On the average, the patients played their instrument 4 hours daily. One-third of the patients were high-level amateurs, one-third were professionals, and one-quarter were lower-level amateurs. There was a small proportion of soloists or professors. Two-thirds of the musicians presented disorders of the musculoskeletal system, particularly trauma sequelae. Signs of overuse were present in 18% of the patients, mainly women, signs of misuse due to inappropriate or defective technique in 8.8%, and dystonia in 5.7%. Psychological problems were noted in 4 patients. More than one half of the patients had obtained medical advice prior to consulting an orthopedic surgeon and the very large majority had been referred by specialized physical therapists. A surgical procedure was proposed for only 19% of the patients presenting an orthopedic disorder. This study presents a diversified panel of musicians consulting orthopedic surgery clinics. Practicing schedules varied in the study population from one to five hours daily. More than half the patients complained of pain but 18% consulted because

  2. Orchestra of Change: Strategically Harmonizing National Character, Military Forces, and the Character of War

    Science.gov (United States)

    2015-06-01

    89 Jason Healey , ed., A Fierce Domain : Conflict in Cyberspace, 1986 to 2012 (Washington, DC: Atlantic Council, 2013), 70–72. 90... A Fierce Domain : Conflict in Cyberspace, 1986 to 2012. Washington, DC: Atlantic Council, 2013. Hoffman, David E. The Dead Hand: The Untold Story...ORCHESTRA OF CHANGE: STRATEGICALLY HARMONIZING NATIONAL CHARACTER, MILITARY FORCES, AND THE CHARACTER OF WAR BY SCOTT GUNN A THESIS

  3. Mirror neuron activation of musicians and non-musicians in response to motion captured piano performances.

    Science.gov (United States)

    Hou, Jiancheng; Rajmohan, Ravi; Fang, Dan; Kashfi, Karl; Al-Khalil, Kareem; Yang, James; Westney, William; Grund, Cynthia M; O'Boyle, Michael W

    2017-07-01

    Mirror neurons (MNs) activate when performing an action and when an observer witnesses the same action performed by another individual. Functional magnetic resonance imaging (fMRI) and presentation of motion captured piano performances were used to identify differences in MN activation for musicians/non-musicians when viewing piano pieces played in a "Correct" mode (i.e., emphasis on technical correctness) or an "Enjoyment" mode (i.e., simply told to "enjoy" playing the piece). Results showed greater MN activation in a variety of brain regions for musicians, with these differences more pronounced in the "Enjoyment" mode. Our findings suggest that activation of MNs is not only initiated by the imagined action of an observed movement, but such activation is modulated by the level of musical expertise and knowledge of associated motor movements that the observer brings to the viewing situation. Enhanced MN activation in musicians may stem from imagining themselves actually playing the observed piece. Copyright © 2017 Elsevier Inc. All rights reserved.

  4. Musicians seeking psychiatric help: a preliminary study of psychiatric characteristics.

    Science.gov (United States)

    van Fenema, Esther; Julsing, Jolien E; Carlier, Ingrid V; van Noorden, Martijn S; Giltay, Erik J; van Wee, Nic J; Zitman, Frans G

    2013-03-01

    Musicians are at increased risk for mental disorders, in particular performance anxiety. Likely causes are high levels of occupational stress, special personality traits, and coping skills. In this cross-sectional study, routine outcome monitoring (ROM) data on clinical and psychosocial characteristics were collected from the first 50 musicians visiting our outpatient psychiatric clinic for performing artists and were compared to those of a large sample of psychiatric outpatients (n=1,498) and subjects from the general population. Of the musician outpatients, 82% (n=41) met the criteria of an Axis I psychiatric disorder. Performance anxiety could not be accurately diagnosed with the MINI-plus, and in a few cases it masked different psychiatric disorders. Musician outpatients scored significantly better on functional scales despite their Axis I disorder, with equal scores on scales measuring distress compared to general outpatients. Musicians displayed significantly higher mean scores on the DAPP-sf subscale measuring narcissistic personality traits than general outpatients and non-patient controls (p=0.001). Diagnostic challenges, in particular regarding performance anxiety, of musicians seeking psychiatric care are thoroughly discussed. Musicians with psychiatric disorders may constitute a group of patients with specific characteristics who may benefit from specialized psychiatric care, and health professionals should be aware of the high prevalence of psychiatric disorders in musicians.

  5. Probabilistic diffusion tractography reveals improvement of structural network in musicians.

    Directory of Open Access Journals (Sweden)

    Jianfu Li

    Full Text Available PURPOSE: Musicians experience a large amount of information transfer and integration of complex sensory, motor, and auditory processes when training and playing musical instruments. Therefore, musicians are a useful model in which to investigate neural adaptations in the brain. METHODS: Here, based on diffusion-weighted imaging, probabilistic tractography was used to determine the architecture of white matter anatomical networks in musicians and non-musicians. Furthermore, the features of the white matter networks were analyzed using graph theory. RESULTS: Small-world properties of the white matter network were observed in both groups. Compared with non-musicians, the musicians exhibited significantly increased connectivity strength in the left and right supplementary motor areas, the left calcarine fissure and surrounding cortex and the right caudate nucleus, as well as a significantly larger weighted clustering coefficient in the right olfactory cortex, the left medial superior frontal gyrus, the right gyrus rectus, the left lingual gyrus, the left supramarginal gyrus, and the right pallidum. Furthermore, there were differences in the node betweenness centrality in several regions. However, no significant differences in topological properties were observed at a global level. CONCLUSIONS: We illustrated preliminary findings to extend the network level understanding of white matter plasticity in musicians who have had long-term musical training. These structural, network-based findings may indicate that musicians have enhanced information transmission efficiencies in local white matter networks that are related to musical training.

  6. A Capital Project? "The New Deal for Musicians" in Scotland

    Science.gov (United States)

    Cloonan, Martin

    2004-01-01

    This article is based on empirical research conducted in Scotland between 2000 and 2002 into the New Deal for Musicians (NDfM)--a UK government training scheme for unemployed musicians which forms part of the "Welfare to Work" initiative. It argues that while the NDfM forms part of a wider lifelong agenda within current adult education…

  7. University-Level Group Piano Instruction and Professional Musicians

    Science.gov (United States)

    Young, Margaret Mary

    2013-01-01

    Group piano courses for undergraduate music majors have been charged with developing the piano skills used by professional musicians; however, the only information available on the use of piano skills by professional musicians has been limited to one profession: public school music teachers. No one has attempted to identify the piano skills used…

  8. Reduced P50 Auditory Sensory Gating Response in Professional Musicians

    Science.gov (United States)

    Kizkin, Sibel; Karlidag, Rifat; Ozcan, Cemal; Ozisik, Handan Isin

    2006-01-01

    Evoked potential studies have demonstrated that musicians have the ability to distinguish musical sounds preattentively and automatically at the temporal, spectral, and spatial levels in more detail. It is however not known whether there is a difference in the early processes of auditory data processing of musicians. The most emphasized and…

  9. Probabilistic diffusion tractography reveals improvement of structural network in musicians.

    Science.gov (United States)

    Li, Jianfu; Luo, Cheng; Peng, Yueheng; Xie, Qiankun; Gong, Jinnan; Dong, Li; Lai, Yongxiu; Li, Hong; Yao, Dezhong

    2014-01-01

    Musicians experience a large amount of information transfer and integration of complex sensory, motor, and auditory processes when training and playing musical instruments. Therefore, musicians are a useful model in which to investigate neural adaptations in the brain. Here, based on diffusion-weighted imaging, probabilistic tractography was used to determine the architecture of white matter anatomical networks in musicians and non-musicians. Furthermore, the features of the white matter networks were analyzed using graph theory. Small-world properties of the white matter network were observed in both groups. Compared with non-musicians, the musicians exhibited significantly increased connectivity strength in the left and right supplementary motor areas, the left calcarine fissure and surrounding cortex and the right caudate nucleus, as well as a significantly larger weighted clustering coefficient in the right olfactory cortex, the left medial superior frontal gyrus, the right gyrus rectus, the left lingual gyrus, the left supramarginal gyrus, and the right pallidum. Furthermore, there were differences in the node betweenness centrality in several regions. However, no significant differences in topological properties were observed at a global level. We illustrated preliminary findings to extend the network level understanding of white matter plasticity in musicians who have had long-term musical training. These structural, network-based findings may indicate that musicians have enhanced information transmission efficiencies in local white matter networks that are related to musical training.

  10. Analysis of Listening Preferences of High School and College Musicians.

    Science.gov (United States)

    Gregory, Dianne

    1994-01-01

    Reports on a study of music listening preferences among undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight U.S. sites. Finds instrumental biases among high school and college musicians' preferences for relatively unfamiliar classical music. (CFR)

  11. Distributed Practice and Procedural Memory Consolidation in Musicians' Skill Learning

    Science.gov (United States)

    Simmons, Amy L.

    2012-01-01

    This research was designed to determine whether musicians' learning is affected by the time intervals interposed between practice sessions. Twenty-nine non-pianist musicians learned a 9-note sequence on a piano keyboard in three practice sessions that were separated by 5 min, 6 hr, or 24 hr. Significant improvements in performance accuracy were…

  12. Home recording for musicians for dummies

    CERN Document Server

    Strong, Jeff

    2008-01-01

    Invaluable advice that will be music to your ears! Are you thinking of getting started in home recording? Do you want to know the latest home recording technologies? Home Recording For Musicians For Dummies will get you recording music at home in no time. It shows you how to set up a home studio, record and edit your music, master it, and even distribute your songs. With this guide, you?ll learn how to compare studio-in-a-box, computer-based, and stand-alone recording systems and choose what you need. You?ll gain the skills to manage your sound, take full advantage of MIDI, m

  13. Modulated neural processing of Western harmony in folk musicians.

    Science.gov (United States)

    Brattico, Elvira; Tupala, Tiina; Glerean, Enrico; Tervaniemi, Mari

    2013-07-01

    A chord deviating from the conventions of Western tonal music elicits an early right anterior negativity (ERAN) in inferofrontal brain regions. Here, we tested whether the ERAN is modulated by expertise in more than one music culture, as typical of folk musicians. Finnish folk musicians and nonmusicians participated in electroencephalography recordings. The cadences consisted of seven chords. In incongruous cadences, the third, fifth, or seventh chord was a Neapolitan. The ERAN to the Neapolitans was enhanced in folk musicians compared to nonmusicians. Folk musicians showed an enhanced P3a for the ending Neapolitan. The Neapolitan at the fifth position was perceived differently and elicited a late enhanced ERAN in folk musicians. Hence, expertise in more than one music culture seems to modify chord processing by enhancing the ERAN to ambivalent chords and the P3a to incongruous chords, and by altering their perceptual attributes. Copyright © 2013 Society for Psychophysiological Research.

  14. ABOUT METHODOLOGICAL TRAINING OF TEACHER-MUSICIANS

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    Y. A. Bodina

    2014-01-01

    Full Text Available The paper considers the need for reinterpretation of the content and functions of methodological training of teacher-musicians in the higher school; the above problem being raised as the result of the massive penetration of information technologies, intensification of knowledge updates, rejection of narrow specializations, and propagation of the postmodern culture. The author focuses on modernization of methodology training of teachermusicians with the emphasis on general features of the modern musical environment affecting students’ personality. The proper methodology training of the future teacher-musicians, based on the culture-adequate knowledge and accompanied by the actual project activity forms, is capable to counteract the influence of the second-rate common musical tastes and negative world perception. In conclusion, the author highlights the need for intensification of the ontological and personal worldview orientation of methodology training and further development of professional tools. The paper is addressed to the higher school teachers and students, music school teachers, and additional education teachers.

  15. Regaining motor control in musician's dystonia by restoring sensorimotor organisation

    Science.gov (United States)

    Rosenkranz, Karin; Butler, Katherine; Williamon, Aaron; Rothwell, John C.

    2010-01-01

    Professional musicians are an excellent human model of long term effects of skilled motor training on the structure and function of the motor system. However, such effects are accompanied by an increased risk of developing motor abnormalities, in particular musician's dystonia. Previously we found that there was an expanded spatial integration of proprioceptive input into the hand area of motor cortex (sensorimotor organisation, SMO) in healthy musicians as tested with a transcranial magnetic stimulation (TMS) paradigm. In musician's dystonia, this expansion was even larger, resulting in a complete lack of somatotopic organisation. We hypothesised that the disordered motor control in musician's dystonia is a consequence of the disordered SMO. In the present paper we test this idea by giving pianists with musician's dystonia 15 min experience of a modified proprioceptive training task. This restored SMO towards that seen in healthy pianists. Crucially, motor control of the affected task improved significantly and objectively as measured with a MIDI piano, and the amount of behavioural improvement was significantly correlated to the degree of sensorimotor re-organisation. In healthy pianists and non-musicians, the SMO and motor performance remained essentially unchanged. These findings suggest a link between the differentiation of SMO in the hand motor cortex and the degree of motor control of intensively practiced tasks in highly skilled individuals. PMID:19923295

  16. Evidence for Enhanced Interoceptive Accuracy in Professional Musicians.

    Science.gov (United States)

    Schirmer-Mokwa, Katharina L; Fard, Pouyan R; Zamorano, Anna M; Finkel, Sebastian; Birbaumer, Niels; Kleber, Boris A

    2015-01-01

    Interoception is defined as the perceptual activity involved in the processing of internal bodily signals. While the ability of internal perception is considered a relatively stable trait, recent data suggest that learning to integrate multisensory information can modulate it. Making music is a uniquely rich multisensory experience that has shown to alter motor, sensory, and multimodal representations in the brain of musicians. We hypothesize that musical training also heightens interoceptive accuracy comparable to other perceptual modalities. Thirteen professional singers, twelve string players, and thirteen matched non-musicians were examined using a well-established heartbeat discrimination paradigm complemented by self-reported dispositional traits. Results revealed that both groups of musicians displayed higher interoceptive accuracy than non-musicians, whereas no differences were found between singers and string-players. Regression analyses showed that accumulated musical practice explained about 49% variation in heartbeat perception accuracy in singers but not in string-players. Psychometric data yielded a number of psychologically plausible inter-correlations in musicians related to performance anxiety. However, dispositional traits were not a confounding factor on heartbeat discrimination accuracy. Together, these data provide first evidence indicating that professional musicians show enhanced interoceptive accuracy compared to non-musicians. We argue that musical training largely accounted for this effect.

  17. Evidence for enhanced interoceptive accuracy in professional musicians

    Directory of Open Access Journals (Sweden)

    Katharina eSchirmer-Mokwa

    2015-12-01

    Full Text Available Interoception is defined as the perceptual activity involved in the processing of internal bodily signals. While the ability of internal perception is considered a relatively stable trait, recent data suggest that learning to integrate multisensory information can modulate it. Making music is a uniquely rich multisensory experience that has shown to alter motor, sensory, and multimodal representations in the brain of musicians. We hypothesize that musical training also heightens interoceptive accuracy comparable to other perceptual modalities. Thirteen professional singers, twelve string players, and thirteen matched non-musicians were examined using a well-established heartbeat discrimination paradigm complemented by self-reported dispositional traits. Results revealed that both groups of musicians displayed higher interoceptive accuracy than non-musicians, whereas no differences were found between singers and string-players. Regression analyses showed that accumulated musical practice explained about 49% variation in heartbeat perception accuracy in singers but not in string-players. Psychometric data yielded a number of psychologically plausible inter-correlations in musicians related to performance anxiety. However, dispositional traits were not a confounding factor on heartbeat discrimination accuracy. Together, these data provide first evidence indicating that professional musicians show enhanced interoceptive accuracy compared to non-musicians. We argue that musical training largely accounted for this effect.

  18. Musicians and non-musicians' different reliance of features in consonance perception: a behavioral and ERP study.

    Science.gov (United States)

    Kung, Chun-Chia; Hsieh, Tsung-Hao; Liou, Jen-Yu; Lin, Kuei-Ju; Shaw, Fu-Zen; Liang, Sheng-Fu

    2014-05-01

    The aim of this study was to compare the different features that musicians and non-musicians rely upon when they discern consonant and dissonant intervals. Previous studies have addressed this issue from the perspective of either the frequency ratio (Western music theory) or the frequency difference (psychoacoustics), but have not considered both features in a single and balanced study. Twelve musicians and twelve non-musicians judged musical consonance at various 50-500 Hz intervals, orthogonally selected from across the "pitch interval" and "roughness" spectrum. Both behavioral and event-related potential (ERP) data were collected separately. Behavioral results demonstrated that while musicians relied upon pitch intervals (between perfect fifths and tritones, with 95% accuracy), non-musicians performed around chance. The latter performance could, however, be sub-divided into "rough tritone and non-rough perfect-fifth" (70-80%) and "non-rough tritone and rough perfect-fifth" combinations (25-30%), suggesting non-musicians' reliance on the roughness dimension. ERP components revealed corresponding P2 (200-250 ms) amplitude differences in the Fz and Cz channels for the "tritones vs. perfect fifths" comparison in musicians, and by the "rough vs. non-rough" comparison in the non-musicians. In addition, N1 (∼100 ms) and N2 (300-400 ms) components also revealed difference in Fz, F3, F4, FCz, Cz and CPz electrodes for "tritones vs. perfect fifths" in musicians. In the non-musicians, a stronger negative N2 for rough than for non-rough stimuli was found at F4 and Cz. Together, these results suggest that musicians and non-musicians rely upon pitch intervals and sensory roughness, respectively, for consonance/dissonance perception. To our knowledge, this is the first study to compare independently across the pitch interval and roughness spectrum. Our results further support the brain plasticity as a result of musical training in consonance perception. Copyright © 2013

  19. Processing of voiced and unvoiced acoustic stimuli in musicians

    Directory of Open Access Journals (Sweden)

    Cyrill Guy Martin Ott

    2011-09-01

    Full Text Available Past research has shown that musical training induces changes in the processing of supra-segmental aspects of speech, such as pitch and prosody. The aim of the present study was to determine whether musical expertise also leads to an altered neurophysiological processing of sub-segmental information available in the speech signal, in particular the voice onset time (VOT. Using high-density EEG recordings we analysed the neurophysiological responses to voiced and unvoiced CV syllables and noise analogues in 26 German speaking adult musicians and non-musicians. From the EEG the N1 amplitude of the event-related potential (ERP and two microstates from the topographical EEG analysis (one around the N1 amplitude and one immediately preceding the N1 microstate were calculated to the different stimuli. Similar to earlier studies the N1 amplitude was different to voiced and unvoiced stimuli in non-musicians with larger amplitudes to voiced stimuli. The more refined microstate analysis revealed that the microstate within the N1 time window was shorter to unvoiced stimuli in non-musicians. For musicians there was no difference for the N1 amplitudes and the corresponding microstates between voiced and unvoiced stimuli. In addition, there was a longer very early microstate preceding the microstate at the N1 time window to non-speech stimuli only in musicians. Taken together, our findings suggest that musicians process unvoiced stimuli (irrespective whether these stimuli are speech or non-speech stimuli differently. We propose that musicians utilise the same network to analyse unvoiced stimuli as for the analysis of voiced stimuli. As a further explanation it is also possible that musicians devote more neurophysiological resources into the analysis of unvoiced segments.

  20. Reluctant entrepreneurs: musicians and entrepreneurship in the 'new' music industry.

    Science.gov (United States)

    Haynes, Jo; Marshall, Lee

    2017-09-18

    Changing labour conditions in the creative industries - with celebrations of autonomy and entrepreneurialism intertwined with increasing job insecurity, portfolio careers and short-term, project-based contracts - are often interpreted as heralding changes to employment relations more broadly. The position of musicians' labour in relation to these changes is unclear, however, given that these kinds of conditions have defined musicians' working practices over much longer periods of time (though they may have intensified due to well-documented changes to the music industry brought about by digitization and disintermediation). Musicians may thus be something of a barometer of current trends, as implied in the way that the musically derived label 'gig economy' is being used to describe the spread of precarious working conditions to broader sections of the population. This article, drawing on original qualitative research that investigated the working practices of musicians, explores one specific aspect of these conditions: whether musicians are self-consciously entrepreneurial towards their work and audience. We found that, while the musicians in our study are routinely involved in activities that could be construed as entrepreneurial, generally they were reluctant to label themselves as entrepreneurs. In part this reflected understandings of entrepreneurialism as driven by profit-seeking but it also reflected awareness that being a popular musician has always involved business and commercial dimensions. Drawing on theoretical conceptions of entrepreneurship developed by Joseph Schumpeter we highlight how the figure of the entrepreneur and the artist/musician share much in common and reflect various aspects of romantic individualism. Despite this, there are also some notable differences and we conclude that framing musicians' labour as entrepreneurial misrepresents their activities through an overemphasis on the economic dimensions of their work at the expense of the

  1. Focal dystonia in musicians: From phenomenology to therapy

    Directory of Open Access Journals (Sweden)

    Hans-Christian Jabusch

    2006-01-01

    Full Text Available Background: Musician's dystonia is a task-specific movement disorder which manifests itself as a loss of voluntary motor control in extensively trained movements. In many cases, the disorder terminates the careers of affected musicians. Approximately 1% of all professional musicians are affected.Etiology and Pathophysiology: The pathophysiology of the disorder is still unclear. Findings include (a reduced inhibition in different levels of the central nervous system, (b maladaptive plasticity, e.g. in the somatosensory cortex and in the basal ganglia, and (c alterations in sensorimotor processing. Epidemiological data demon-strated a higher risk for those musicians who play instruments requiring maximal fine-motorskills. For instruments where workload differs across hands, focal dystonia appears more often in the more intensely used hand. In psychological studies, musicians with dystonia had more perfectionist tendencies than healthy musicians. These findings streng then the assumption that behavioral factors may be involved in the etiology of musician's dystonia. Hereditary factors may play a greater role than previously assumed. Preliminary findings suggest a genetic contributiont o focal task-specific dystonia with phenotypic variations including musician's dystonia.Treatment: Treatment options for musician's dystonia include pharmacological interventions such as administration of Trihexyphenidyl or Botulinum Toxin-A as well as retraining programs and ergonomic changes in the instrument. A long-term follow-up study was performed in 144 patients with musician's dystonia. The outcome was revealed on average 8.4 years after onset of symptoms. Outcome was assessed by patients' subjective rating of cumulative treatmentresponse and response to individual therapies. Seventy-seven patients (54% reported an alleviation of symptoms: 33% of the patients with Trihexyphenidyl, 49% with Botulinum Toxin, 50% with pedagogical retraining, 56% with unmonitored

  2. Behavioral and neural correlates of executive functioning in musicians and non-musicians.

    Science.gov (United States)

    Zuk, Jennifer; Benjamin, Christopher; Kenyon, Arnold; Gaab, Nadine

    2014-01-01

    Executive functions (EF) are cognitive capacities that allow for planned, controlled behavior and strongly correlate with academic abilities. Several extracurricular activities have been shown to improve EF, however, the relationship between musical training and EF remains unclear due to methodological limitations in previous studies. To explore this further, two experiments were performed; one with 30 adults with and without musical training and one with 27 musically trained and untrained children (matched for general cognitive abilities and socioeconomic variables) with a standardized EF battery. Furthermore, the neural correlates of EF skills in musically trained and untrained children were investigated using fMRI. Adult musicians compared to non-musicians showed enhanced performance on measures of cognitive flexibility, working memory, and verbal fluency. Musically trained children showed enhanced performance on measures of verbal fluency and processing speed, and significantly greater activation in pre-SMA/SMA and right VLPFC during rule representation and task-switching compared to musically untrained children. Overall, musicians show enhanced performance on several constructs of EF, and musically trained children further show heightened brain activation in traditional EF regions during task-switching. These results support the working hypothesis that musical training may promote the development and maintenance of certain EF skills, which could mediate the previously reported links between musical training and enhanced cognitive skills and academic achievement.

  3. Behavioral and neural correlates of executive functioning in musicians and non-musicians.

    Directory of Open Access Journals (Sweden)

    Jennifer Zuk

    Full Text Available Executive functions (EF are cognitive capacities that allow for planned, controlled behavior and strongly correlate with academic abilities. Several extracurricular activities have been shown to improve EF, however, the relationship between musical training and EF remains unclear due to methodological limitations in previous studies. To explore this further, two experiments were performed; one with 30 adults with and without musical training and one with 27 musically trained and untrained children (matched for general cognitive abilities and socioeconomic variables with a standardized EF battery. Furthermore, the neural correlates of EF skills in musically trained and untrained children were investigated using fMRI. Adult musicians compared to non-musicians showed enhanced performance on measures of cognitive flexibility, working memory, and verbal fluency. Musically trained children showed enhanced performance on measures of verbal fluency and processing speed, and significantly greater activation in pre-SMA/SMA and right VLPFC during rule representation and task-switching compared to musically untrained children. Overall, musicians show enhanced performance on several constructs of EF, and musically trained children further show heightened brain activation in traditional EF regions during task-switching. These results support the working hypothesis that musical training may promote the development and maintenance of certain EF skills, which could mediate the previously reported links between musical training and enhanced cognitive skills and academic achievement.

  4. Resurrection Symphony: "El Sistema" as Ideology in Venezuela and Los Angeles

    Science.gov (United States)

    Fink, Robert

    2016-01-01

    The explosive growth of Venezuela's "El Sistema" is rewriting the agenda of musical education in the West. Many commentators from the world of classical music react to the spectacle of dedicated young colonial musicians playing European masterworks as a kind of "miracle," accepting "Sistema" founder José Antonio…

  5. Life Expectancy and Cause of Death in Popular Musicians: Is the Popular Musician Lifestyle the Road to Ruin?

    Science.gov (United States)

    Kenny, Dianna T; Asher, Anthony

    2016-03-01

    Does a combination of lifestyle pressures and personality, as reflected in genre, lead to the early death of popular musicians? We explored overall mortality, cause of death, and changes in patterns of death over time and by music genre membership in popular musicians who died between 1950 and 2014. The death records of 13,195 popular musicians were coded for age and year of death, cause of death, gender, and music genre. Musician death statistics were compared with age-matched deaths in the US population using actuarial methods. Although the common perception is of a glamorous, free-wheeling lifestyle for this occupational group, the figures tell a very different story. Results showed that popular musicians have shortened life expectancy compared with comparable general populations. Results showed excess mortality from violent deaths (suicide, homicide, accidental death, including vehicular deaths and drug overdoses) and liver disease for each age group studied compared with population mortality patterns. These excess deaths were highest for the under-25-year age group and reduced chronologically thereafter. Overall mortality rates were twice as high compared with the population when averaged over the whole age range. Mortality impacts differed by music genre. In particular, excess suicides and liver-related disease were observed in country, metal, and rock musicians; excess homicides were observed in 6 of the 14 genres, in particular hip hop and rap musicians. For accidental death, actual deaths significantly exceeded expected deaths for country, folk, jazz, metal, pop, punk, and rock.

  6. Neural processing of musical meter in musicians and non-musicians.

    Science.gov (United States)

    Zhao, T Christina; Lam, H T Gloria; Sohi, Harkirat; Kuhl, Patricia K

    2017-11-01

    Musical sounds, along with speech, are the most prominent sounds in our daily lives. They are highly dynamic, yet well structured in the temporal domain in a hierarchical manner. The temporal structures enhance the predictability of musical sounds. Western music provides an excellent example: while time intervals between musical notes are highly variable, underlying beats can be realized. The beat-level temporal structure provides a sense of regular pulses. Beats can be further organized into units, giving the percept of alternating strong and weak beats (i.e. metrical structure or meter). Examining neural processing at the meter level offers a unique opportunity to understand how the human brain extracts temporal patterns, predicts future stimuli and optimizes neural resources for processing. The present study addresses two important questions regarding meter processing, using the mismatch negativity (MMN) obtained with electroencephalography (EEG): 1) how tempo (fast vs. slow) and type of metrical structure (duple: two beats per unit vs. triple: three beats per unit) affect the neural processing of metrical structure in non-musically trained individuals, and 2) how early music training modulates the neural processing of metrical structure. Metrical structures were established by patterns of consecutive strong and weak tones (Standard) with occasional violations that disrupted and reset the structure (Deviant). Twenty non-musicians listened passively to these tones while their neural activities were recorded. MMN indexed the neural sensitivity to the meter violations. Results suggested that MMNs were larger for fast tempo and for triple meter conditions. Further, 20 musically trained individuals were tested using the same methods and the results were compared to the non-musicians. While tempo and meter type similarly influenced MMNs in both groups, musicians overall exhibited significantly reduced MMNs, compared to their non-musician counterparts. Further analyses

  7. Can ensemble condition in a hall be improved and measured?

    DEFF Research Database (Denmark)

    Gade, Anders Christian

    1988-01-01

    of the ceiling reflectors; and (c) changing the position of the orchestra on the platform. These variables were then tested in full scale experiments in the hall including subjective evaluation by the orchestra in order to verify their effects under practical conditions. New objective parameters, which showed......In collaboration with the Danish Broadcasting Corporation an extensive series of experiments has been carried out in The Danish Radio Concert Hall with the practical purpose of trying to improve the ensemble conditions on the platform for the resident symphony orchestra. First, a series...... of experiments in a 1:20 scale model indicated that among several suggested means the following would be the most effective and acceptable: (a) changing the shape of the sidewalls in the platform area in order to make them reflect sound back to the musicians more effectively; (b) lowering and redesigning...

  8. Do Musicians with Perfect Pitch Have More Autism Traits than Musicians without Perfect Pitch? An Empirical Study

    DEFF Research Database (Denmark)

    Dohn, Anders; Garza-Villarreal, Eduardo A.; Heaton, Pamela

    2012-01-01

    Perfect pitch, also known as absolute pitch (AP), refers to the rare ability to identify or produce a musical tone correctly without the benefit of an external reference. AP is often considered to reflect musical giftedness, but it has also been associated with certain disabilities due to increased...... (APs), 18 musicians without AP (non-APs), and 16 non-musicians. In addition, we measured AP ability by a pitch identification test with sine wave tones and piano tones. We found a significantly higher degree of autism traits in APs than in non-APs and non-musicians, and autism scores were significantly...

  9. The Unforgettable Neurosurgical Operations of Musicians in the Last Century.

    Science.gov (United States)

    Gasenzer, Elena Romana; Kanat, Ayhan; Neugebauer, Edmund

    2017-05-01

    There has been no study of craniotomies of famous musicians throughout history. This subject was investigated. The key search words were "neurosurgery and music" and the names of composers. We used digital catalogs such as PubMed as well as university libraries. We found 4 musicians from the twentieth century with different neurosurgical diseases: Maurice Ravel, George Gershwin, Clara Haskil, and Pat Martino. Neurosurgical operations affected the musical careers and lives of mentioned musicians and two of them died. Neurosurgeons can understand the effect of limited diagnostic tools such as magnetic resonance imaging and computed tomography at the time on the poor outcome of 2 musicians. Copyright © 2016 Elsevier Inc. All rights reserved.

  10. Music performance anxiety: New insights from young musicians

    Directory of Open Access Journals (Sweden)

    Margaret S. Osborne

    2006-01-01

    Full Text Available Music performance anxiety (MPA is a relatively neglected psychological phenomenon that rarely appears in mainstream psychological journals or textbooks. To date, this field of inquiry has focused primarily on professional and amateur adult musicians or college level music students. With the exception of a small number of recent additions to the literature, there have been few studies examining the experience of MPA in younger musicians. In this paper, we review our work on MPA in general, and summarize our recent work with young musicians. We argue that the experience of MPA may begin early in a musical career and that the characteristics of this experience are qualitatively similar to those experienced by adult musicians. There are therefore compelling reasons to address MPA early and to take a strong preventive focus on a condition that to date shows persistence over time and only modest response to available treatments.

  11. Contagious rhythm: infectious diseases of 20th century musicians.

    Science.gov (United States)

    Sartin, Jeffrey S

    2010-07-01

    Infectious diseases have led to illness and death for many famous musicians, from the classical period to the rock 'n' roll era. By the 20th century, as public health improved and orchestral composers began living more settled lives, infections among American and European musicians became less prominent. By mid-century, however, seminal jazz musicians famously pursued lifestyles characterized by drug and alcohol abuse. Among the consequences of this risky lifestyle were tuberculosis, syphilis, and chronic viral hepatitis. More contemporary rock musicians have experienced an epidemic of hepatitis C infection and HIV/AIDS related to intravenous drug use and promiscuity. Musical innovation is thus often accompanied by diseases of neglect and overindulgence, particularly infectious illnesses, although risky behavior and associated infectious illnesses tend to decrease as the style matures.

  12. Auditory and visual memory in musicians and nonmusicians.

    Science.gov (United States)

    Cohen, Michael A; Evans, Karla K; Horowitz, Todd S; Wolfe, Jeremy M

    2011-06-01

    Numerous studies have shown that musicians outperform nonmusicians on a variety of tasks. Here we provide the first evidence that musicians have superior auditory recognition memory for both musical and nonmusical stimuli, compared to nonmusicians. However, this advantage did not generalize to the visual domain. Previously, we showed that auditory recognition memory is inferior to visual recognition memory. Would this be true even for trained musicians? We compared auditory and visual memory in musicians and nonmusicians using familiar music, spoken English, and visual objects. For both groups, memory for the auditory stimuli was inferior to memory for the visual objects. Thus, although considerable musical training is associated with better musical and nonmusical auditory memory, it does not increase the ability to remember sounds to the levels found with visual stimuli. This suggests a fundamental capacity difference between auditory and visual recognition memory, with a persistent advantage for the visual domain.

  13. Expression Surpassing Words: Gorecki’s Symphony No. 3, Op. 36 “Sorrowful Songs”

    Directory of Open Access Journals (Sweden)

    Alyssa K. Griffith

    2015-12-01

    Full Text Available The experience of listening to Gorecki’s Symphony no. 3, op. 36 “Sorrowful Songs” is one that is not easily forgotten. It is not only musically captivating, but also historically fascinating. After its premiere in 1977, Gorecki’s piece captivated listeners across the globe as it became a cultural phenomenon in both Europe and America. The music was a stunning success in both the Classical and popular cultures. What is it about the music that is so captivating? How did the trending, popular thoughts compare to Gorecki’s original ideas and compositional motives? What actually inspired this piece? By looking at the composition and premise of each movement, I am going to introduce how the piece was written around the theme of maternal love and separation of mother and child. The Third Symphony was heavily influenced by Gorecki’s personal past, but also by his Catholic beliefs and by Polish history. The separate texts to this three movement piece deal individually with a mother’s lament over her son’s departure, the Virgin Mary’s grief at her Son’s death, and finally the words of an incarcerated prison girl to her mother. Because of the setting from which the third text was drawn, and because of Gorecki’s Polish history and experiences in the post-holocaust world, many people have interpreted this to be a “war piece” which avenges the sufferers of the Holocaust. According to Gorecki, this piece is a lament- it expresses a profound sense of grief which, arguably, cannot accurately be expressed with words. Gorecki used his music to confront, mourn, and express his pain and the pain of many other people. By finding primary sources, such as interviews of Henryk Gorecki, and by looking at the scholarly books and journals by Luke B. Howard, Adrian Thomas, and other scholars of Polish avant-garde music, I hope to properly understand and express the intentions Gorecki wished to convey by writing The Symphony of Sorrowful Songs.

  14. Benefits and disadvantages of joint hypermobility among musicians.

    Science.gov (United States)

    Larsson, L G; Baum, J; Mudholkar, G S; Kollia, G D

    1993-10-07

    Joint hypermobility is considered to be both an advantage and a disadvantage. However, the degree of hypermobility in members of particular occupations requiring intense physical activity and the nature of the association between symptoms referable to specific joints and their hypermobility are unknown. We interviewed 660 musicians (300 women and 360 men) about work-related symptoms such as joint pain and swelling and examined them for joint hypermobility according to a standard protocol. We then determined the relation between the mobility of their fingers, thumbs, elbows, knees, and spine and any symptoms referable to these regions. Five of the 96 musicians (5 percent) with hypermobility of the wrists, mostly instrumentalists who played the flute, violin, or piano, had pain and stiffness in this region, whereas 100 of the 564 musicians (18 percent) without such hypermobility had symptoms (P = 0.001). Hypermobility of the elbow was associated with symptoms in only 1 of 208 musicians (< 1 percent), whereas 7 of 452 (2 percent) without this hypermobility had symptoms (P = 0.45). Among the 132 musicians who had hypermobile knees, 6 (5 percent) had symptoms, whereas only 1 of 528 (< 1 percent) with normal knees had symptoms (P < 0.001). Of the 462 musicians who had normal mobility of the spine, 50 (11 percent) had symptoms involving the back, as compared with 46 of the 198 musicians (23 percent) who had hypermobility of the spine (P < 0.001). Among musicians who play instruments requiring repetitive motion, hypermobility of joints such as the wrists and elbows may be an asset, whereas hypermobility of less frequently moved joints such as the knees and spine may be a liability.

  15. Mutual benefits of collaborations between instrument makers, musicians and acousticians

    OpenAIRE

    SHARP , David

    2012-01-01

    International audience; Effective collaboration between instrument makers, musicians and acousticians can be of great benefit to all parties, leading to improved instrument designs, greater understanding of an instrument’s playing characteristics, and an improved knowledge of the physical processes that occur within an instrument. As a working relationship develops between an instrument maker, a musician and an acoustician, the trust that builds up can facilitate increasingly more detailed in...

  16. Mutual benefits of collaborations between instrumentmakers, musicians and acousticians

    OpenAIRE

    Sharp, David

    2012-01-01

    Effective collaboration between instrument makers, musicians and acousticians can be of great benefit to all parties, leading to improved instrument designs, greater understanding of an instrument’s playing characteristics, and an improved knowledge of the physical processes that occur within an instrument. As a working relationship develops between an instrument maker, a musician and an acoustician, the trust that builds up can facilitate increasingly more detailed investigations. Through a ...

  17. Sentence pitch change detection in the native and unfamiliar language in musicians and non-musicians: behavioral, electrophysiological and psychoacoustic study.

    Science.gov (United States)

    Deguchi, Chizuru; Boureux, Magali; Sarlo, Michela; Besson, Mireille; Grassi, Massimo; Schön, Daniele; Colombo, Lucia

    2012-05-21

    Previous ERP studies have shown that musicians detect a pitch change in spoken sentences better than non-musicians in both native (French, Schön et al., 2004) and unfamiliar (Portuguese, Marques et al., 2007) language. The aim of the present study was to further investigate differences between musicians and non-musicians in processing pitch changes in spoken sentences. To study the effects of familiarity of intonational contour and of the presence of meaningful context, behavioral and electrophysiological data from Italian musicians and non-musicians were compared in a pitch incongruity detection task using sentences in the native (Italian) and foreign (French) language and in jabberwocky (meaningless sentences formed by pseudowords). Moreover, to examine whether these differences depend on enhanced auditory sensitivity to pitch, the frequency discrimination threshold (FDT) for tones was obtained using a psychophysical procedure. Musicians were more accurate than non-musicians in detecting small pitch changes in all languages showing a smaller response bias, as well as much lower FDTs than non-musicians. The ERP data revealed shorter latencies of a late positivity over parietal sites in musicians than in non-musicians for weak and strong incongruities. Overall results confirmed musicians' advantage in detection of subtle pitch changes not only with tones but also with speech sentences in both native and unfamiliar languages. Such effect appears to emerge from more efficient pitch analysis trained by musical experience. Copyright © 2012 Elsevier B.V. All rights reserved.

  18. Auditory and cognitive performance in elderly musicians and nonmusicians.

    Science.gov (United States)

    Grassi, Massimo; Meneghetti, Chiara; Toffalini, Enrico; Borella, Erika

    2017-01-01

    Musicians represent a model for examining brain and behavioral plasticity in terms of cognitive and auditory profile, but few studies have investigated whether elderly musicians have better auditory and cognitive abilities than nonmusicians. The aim of the present study was to examine whether being a professional musician attenuates the normal age-related changes in hearing and cognition. Elderly musicians still active in their profession were compared with nonmusicians on auditory performance (absolute threshold, frequency intensity, duration and spectral shape discrimination, gap and sinusoidal amplitude-modulation detection), and on simple (short-term memory) and more complex and higher-order (working memory [WM] and visuospatial abilities) cognitive tasks. The sample consisted of adults at least 65 years of age. The results showed that older musicians had similar absolute thresholds but better supra-threshold discrimination abilities than nonmusicians in four of the six auditory tasks administered. They also had a better WM performance, and stronger visuospatial abilities than nonmusicians. No differences were found between the two groups' short-term memory. Frequency discrimination and gap detection for the auditory measures, and WM complex span tasks and one of the visuospatial tasks for the cognitive ones proved to be very good classifiers of the musicians. These findings suggest that life-long music training may be associated with enhanced auditory and cognitive performance, including complex cognitive skills, in advanced age. However, whether this music training represents a protective factor or not needs further investigation.

  19. Creativity and personality in classical, jazz and folk musicians.

    Science.gov (United States)

    Benedek, Mathias; Borovnjak, Barbara; Neubauer, Aljoscha C; Kruse-Weber, Silke

    2014-06-01

    The music genre of jazz is commonly associated with creativity. However, this association has hardly been formally tested. Therefore, this study aimed at examining whether jazz musicians actually differ in creativity and personality from musicians of other music genres. We compared students of classical music, jazz music, and folk music with respect to their musical activities, psychometric creativity and different aspects of personality. In line with expectations, jazz musicians are more frequently engaged in extracurricular musical activities, and also complete a higher number of creative musical achievements. Additionally, jazz musicians show higher ideational creativity as measured by divergent thinking tasks, and tend to be more open to new experiences than classical musicians. This study provides first empirical evidence that jazz musicians show particularly high creativity with respect to domain-specific musical accomplishments but also in terms of domain-general indicators of divergent thinking ability that may be relevant for musical improvisation. The findings are further discussed with respect to differences in formal and informal learning approaches between music genres.

  20. Mental rotation and working memory in musicians' dystonia.

    Science.gov (United States)

    Erro, Roberto; Hirschbichler, Stephanie T; Ricciardi, Lucia; Ryterska, Agata; Antelmi, Elena; Ganos, Christos; Cordivari, Carla; Tinazzi, Michele; Edwards, Mark J; Bhatia, Kailash P

    2016-11-01

    Mental rotation of body parts engages cortical-subcortical areas that are actually involved in the execution of a movement. Musicians' dystonia is a type of focal hand dystonia that is grouped together with writer's cramp under the rubric of "occupational dystonia", but it is unclear to which extent these two disorders share common pathophysiological mechanisms. Previous research has demonstrated patients with writer's cramp to have deficits in mental rotation of body parts. It is unknown whether patients with musicians' dystonia would display similar deficits, reinforcing the concept of shared pathophysiology. Eight patients with musicians' dystonia and eight healthy musicians matched for age, gender and musical education, performed a number of tasks assessing mental rotation of body parts and objects as well as verbal and spatial working memories abilities. There were no differences between patients and healthy musicians as to accuracy and reaction times in any of the tasks. Patients with musicians' dystonia have intact abilities in mentally rotating body parts, suggesting that this disorder relies on a highly selective disruption of movement planning and execution that manifests only upon playing a specific instrument. We further demonstrated that mental rotation of body parts and objects engages, at least partially, different cognitive networks. Copyright © 2016 Elsevier Inc. All rights reserved.

  1. Auditory and cognitive performance in elderly musicians and nonmusicians.

    Directory of Open Access Journals (Sweden)

    Massimo Grassi

    Full Text Available Musicians represent a model for examining brain and behavioral plasticity in terms of cognitive and auditory profile, but few studies have investigated whether elderly musicians have better auditory and cognitive abilities than nonmusicians. The aim of the present study was to examine whether being a professional musician attenuates the normal age-related changes in hearing and cognition. Elderly musicians still active in their profession were compared with nonmusicians on auditory performance (absolute threshold, frequency intensity, duration and spectral shape discrimination, gap and sinusoidal amplitude-modulation detection, and on simple (short-term memory and more complex and higher-order (working memory [WM] and visuospatial abilities cognitive tasks. The sample consisted of adults at least 65 years of age. The results showed that older musicians had similar absolute thresholds but better supra-threshold discrimination abilities than nonmusicians in four of the six auditory tasks administered. They also had a better WM performance, and stronger visuospatial abilities than nonmusicians. No differences were found between the two groups' short-term memory. Frequency discrimination and gap detection for the auditory measures, and WM complex span tasks and one of the visuospatial tasks for the cognitive ones proved to be very good classifiers of the musicians. These findings suggest that life-long music training may be associated with enhanced auditory and cognitive performance, including complex cognitive skills, in advanced age. However, whether this music training represents a protective factor or not needs further investigation.

  2. Superior pre-attentive auditory processing in musicians.

    Science.gov (United States)

    Koelsch, S; Schröger, E; Tervaniemi, M

    1999-04-26

    The present study focuses on influences of long-term experience on auditory processing, providing the first evidence for pre-attentively superior auditory processing in musicians. This was revealed by the brain's automatic change-detection response, which is reflected electrically as the mismatch negativity (MMN) and generated by the operation of sensoric (echoic) memory, the earliest cognitive memory system. Major chords and single tones were presented to both professional violinists and non-musicians under ignore and attend conditions. Slightly impure chords, presented among perfect major chords elicited a distinct MMN in professional musicians, but not in non-musicians. This demonstrates that compared to non-musicians, musicians are superior in pre-attentively extracting more information out of musically relevant stimuli. Since effects of long-term experience on pre-attentive auditory processing have so far been reported for language-specific phonemes only, results indicate that sensory memory mechanisms can be modulated by training on a more general level.

  3. Musicians react faster and are better multisensory integrators.

    Science.gov (United States)

    Landry, Simon P; Champoux, François

    2017-02-01

    The results from numerous investigations suggest that musical training might enhance how senses interact. Despite repeated confirmation of anatomical and structural changes in visual, tactile, and auditory regions, significant changes have only been reported in the audiovisual domain and for the detection of audio-tactile incongruencies. In the present study, we aim at testing whether long-term musical training might also enhance other multisensory processes at a behavioural level. An audio-tactile reaction time task was administrated to a group of musicians and non-musicians. We found significantly faster reaction times with musicians for auditory, tactile, and audio-tactile stimulations. Statistical analyses between the combined uni- and multisensory reaction times revealed that musicians possess a statistical advantage when responding to multisensory stimuli compared to non-musicians. These results suggest for the first time that long-term musical training reduces simple non-musical auditory, tactile, and multisensory reaction times. Taken together with the previous results from other sensory modalities, these results strongly point towards musicians being better at integrating the inputs from various senses. Copyright © 2016 Elsevier Inc. All rights reserved.

  4. Jazz musicians reveal role of expectancy in human creativity.

    Science.gov (United States)

    Przysinda, Emily; Zeng, Tima; Maves, Kellyn; Arkin, Cameron; Loui, Psyche

    2017-12-01

    Creativity has been defined as the ability to produce work that is novel, high in quality, and appropriate to an audience. While the nature of the creative process is under debate, many believe that creativity relies on real-time combinations of known neural and cognitive processes. One useful model of creativity comes from musical improvisation, such as in jazz, in which musicians spontaneously create novel sound sequences. Here we use jazz musicians to test the hypothesis that individuals with training in musical improvisation, which entails creative generation of musical ideas, might process expectancy differently. We compare jazz improvisers, non-improvising musicians, and non-musicians in the domain-general task of divergent thinking, as well as the musical task of preference ratings for chord progressions that vary in expectation while EEGs were recorded. Behavioral results showed for the first time that jazz musicians preferred unexpected chord progressions. ERP results showed that unexpected stimuli elicited larger early and mid-latency ERP responses (ERAN and P3b), followed by smaller long-latency responses (Late Positivity Potential) in jazz musicians. The amplitudes of these ERP components were significantly correlated with behavioral measures of fluency and originality on the divergent thinking task. Together, results highlight the role of expectancy in creativity. Copyright © 2017 Elsevier Inc. All rights reserved.

  5. Diabetes Mellitus as Dysfunction of Interactions among all Organs: “Ominous Orchestra of Organs”

    Directory of Open Access Journals (Sweden)

    Hiroyuki Koshiyama

    2008-01-01

    Full Text Available Epidemiological evidence has established a link among hyperlipidemia, visceral obesity, osteoporosis, and cardiovascular diseases. We have recently proposed a hypothesis that the associations of those disorders are based on interactions of the three organs, i.e. the bone, adipose, and vascular tissues, possibly through multiple actions of several humoral factors and/or transcription factors. We call this unified hypothesis “osteo-lipo-vascular interactions”, which may be explained by the common origin of the cells in each organ, such as mesenchymal stem cells or macrophages. Several groups proposed similar hypotheses. On the other hand, there have been accumulating evidences which indicate that there exist hitherto unknown various interactions between many organs, such as hypothalamus-liver, fat-liver, liver-muscle, intestine-pancreas, kidney-heart and so on. Therefore, it seems insufficient to consider only the interactions among several organs, and the standpoint of considering interactions among all organs may be warranted, especially in order to understand the pathogenesis of metabolic syndrome, insulin resistance and type 2 diabetes. We here propose a hypothesis that the abnormal interactions of all organs (“Ominous Orchestra of Organs” underlies the pathogenesis of type 2 diabetes. It is to be elucidated which of the “players” or the “conductor” may be mainly responsible for disharmony of the orchestra.

  6. Analyze the beta waves of electroencephalogram signals from young musicians and non-musicians in major scale working memory task.

    Science.gov (United States)

    Hsu, Chien-Chang; Cheng, Ching-Wen; Chiu, Yi-Shiuan

    2017-02-15

    Electroencephalograms can record wave variations in any brain activity. Beta waves are produced when an external stimulus induces logical thinking, computation, and reasoning during consciousness. This work uses the beta wave of major scale working memory N-back tasks to analyze the differences between young musicians and non-musicians. After the feature analysis uses signal filtering, Hilbert-Huang transformation, and feature extraction methods to identify differences, k-means clustering algorithm are used to group them into different clusters. The results of feature analysis showed that beta waves significantly differ between young musicians and non-musicians from the low memory load of working memory task. Copyright © 2017 Elsevier B.V. All rights reserved.

  7. Communist anniversaries as a symphony of power and science (case study of Bulgaria

    Directory of Open Access Journals (Sweden)

    Ewelina Drzewiecka

    2017-12-01

    Full Text Available The aim of the paper is to show the interplay between the power and the science in the context of cultural memory. The focus is on the Cyrillo-Methodian anniversaries in Bulgaria in the communist period, and the object of the analysis is the anniversary of 1969. The context relates to the process of development of new historiography and the functionalization of the nation-centric narrative. The main issue discussed is how the Communist Party, as a political institution, and the Bulgarian Academy of Science, as an academic institution, cooperated to establish a new vision of society. The discussion offers an interpretation in the light of the Orthodox concept of the symphony of power perceived as a metaphor of the relation between the secular and the spiritual power.

  8. Differences between musicians and non-musicians in neuro-affective processing of sadness and fear expressed in music.

    Science.gov (United States)

    Park, Mona; Gutyrchik, Evgeny; Bao, Yan; Zaytseva, Yuliya; Carl, Petra; Welker, Lorenz; Pöppel, Ernst; Reiser, Maximilian; Blautzik, Janusch; Meindl, Thomas

    2014-04-30

    Music is known to convey and evoke emotional states. Musical training has been argued to lead to changes in neural architecture and enhanced processing of emotions. It is not clear, however, whether musical training is also associated with changes in behavioral and neural responses to musically conveyed discrete emotions. Using functional magnetic resonance imaging, we investigated the responses to three musically conveyed emotions (happiness, sadness, fear) in a group of musicians and a group of non-musicians. We find that musicians rate sadness and fear as significantly more arousing than non-musicians, and that musical training is associated with specific neural activations: In response to sadness expressed in music, musicians show activation increases in the right prefrontal cortex, specifically in the superior and middle frontal gyri. In response to fear, musicians show activation increases in the right parietal cortex, specifically in the supramarginal and inferior parietal gyri. No specific activations were observed in response to happiness. Our results highlight the strong association between musical training and altered processing of "negative" emotions on both the behavioral and on the neural level. Copyright © 2014 Elsevier Ireland Ltd. All rights reserved.

  9. Mirror neuron activation of musicians and non-musicians in response to motion captured piano performances

    DEFF Research Database (Denmark)

    Hou, Jiancheng; Rajmohan, Ravi; Fang, Dan

    2017-01-01

    pronounced in the “Enjoyment” mode. Our findings suggest that activation of MNs is not only initiated by the imagined action of an observed movement, but such activation is modulated by the level of musical expertise and knowledge of associated motor movements that the observer brings to the viewing......Mirror neurons (MNs) activate when performing an action and when an observer witnesses the same action performed by another individual. Functional magnetic resonance imaging (fMRI) and presentation of motion captured piano performances were used to identify differences in MN activation...... situation. Enhanced MN activation in musicians may stem from imagining themselves actually playing the observed piece....

  10. A STUDY OF THE IMAGE OF TULIP SYMPHONY - A DEFINING INGREDIENT IN THE DEVELOPMENT OF THE URBAN BRAND OF PITESTI

    Directory of Open Access Journals (Sweden)

    Mihaela, ASANDEI

    2014-11-01

    Full Text Available The city is a fundamental element of the identity of contemporary society, fulfilling in each urban community complex functions that depend on the needs, interests and aspirations of the people and of the political and economic system. The urban identity of Pitesti is defined by a set of features with certain significance for each inhabitant of the city. The Tulip Symphony is a symbol that has been created, developed and promoted during the past four decades by the urban community. The present study aims to study how residents of Pitesti perceive the urban product named the Tulip Symphony is and present the conclusions of a statistical survey conducted during the 37th edition of the event.

  11. The effect of visual cues on auditory stream segregation in musicians and non-musicians.

    Directory of Open Access Journals (Sweden)

    Jeremy Marozeau

    Full Text Available BACKGROUND: The ability to separate two interleaved melodies is an important factor in music appreciation. This ability is greatly reduced in people with hearing impairment, contributing to difficulties in music appreciation. The aim of this study was to assess whether visual cues, musical training or musical context could have an effect on this ability, and potentially improve music appreciation for the hearing impaired. METHODS: Musicians (N = 18 and non-musicians (N = 19 were asked to rate the difficulty of segregating a four-note repeating melody from interleaved random distracter notes. Visual cues were provided on half the blocks, and two musical contexts were tested, with the overlap between melody and distracter notes either gradually increasing or decreasing. CONCLUSIONS: Visual cues, musical training, and musical context all affected the difficulty of extracting the melody from a background of interleaved random distracter notes. Visual cues were effective in reducing the difficulty of segregating the melody from distracter notes, even in individuals with no musical training. These results are consistent with theories that indicate an important role for central (top-down processes in auditory streaming mechanisms, and suggest that visual cues may help the hearing-impaired enjoy music.

  12. Sensorimotor integration is enhanced in dancers and musicians.

    Science.gov (United States)

    Karpati, Falisha J; Giacosa, Chiara; Foster, Nicholas E V; Penhune, Virginia B; Hyde, Krista L

    2016-03-01

    Studying individuals with specialized training, such as dancers and musicians, provides an opportunity to investigate how intensive practice of sensorimotor skills affects behavioural performance across various domains. While several studies have found that musicians have improved motor, perceptual and sensorimotor integration skills compared to untrained controls, fewer studies have examined the effect of dance training on such skills. Moreover, no study has specifically compared the effects of dance versus music training on perceptual or sensorimotor performance. To this aim, in the present study, expert dancers, expert musicians and untrained controls were tested on a range of perceptual and sensorimotor tasks designed to discriminate performance profiles across groups. Dancers performed better than musicians and controls on a dance imitation task (involving whole-body movement), but musicians performed better than dancers and controls on a musical melody discrimination task as well as on a rhythm synchronization task (involving finger tapping). These results indicate that long-term intensive dance and music training are associated with distinct enhancements in sensorimotor skills. This novel work advances knowledge of the effects of long-term dance versus music training and has potential applications in therapies for motor disorders.

  13. Functional connectivity of the dorsal striatum in female musicians

    Directory of Open Access Journals (Sweden)

    Shoji eTanaka

    2016-04-01

    Full Text Available The dorsal striatum (caudate/putamen is a node of the cortico-striato-pallido-thalamo-cortical (CSPTC motor circuit, which plays a central role in skilled motor learning, a critical feature of musical performance. The dorsal striatum receives input from a large part of the cerebral cortex, forming a hub in the cortical-subcortical network. This study sought to examine how the functional network of the dorsal striatum differs between musicians and nonmusicians.Resting state functional magnetic resonance imaging (fMRI data were acquired from female university students majoring in music and nonmusic disciplines. The data were subjected to graph theoretical analysis and functional connectivity analysis. The graph theoretical analysis of the entire brain revealed that the degree, which represents the number of connections, of the bilateral putamen was significantly lower in musicians than in nonmusicians. The functional connectivity analysis indicated that compared with nonmusicians, musicians had significantly decreased connectivity between the left putamen and bilateral frontal operculum and between the left caudate nucleus and cerebellum. In conclusion, compared with nonmusicians, female musicians have a smaller functional network of the dorsal striatum, with decreased connectivity. These data are consistent with previous anatomical studies reporting a reduced volume of the dorsal striatum in musicians and ballet dancers. To the best of our knowledge, this is the first study suggesting that long-term musical training results in a less extensive or selective functional network of the dorsal striatum.

  14. Task-irrelevant auditory feedback facilitates motor performance in musicians

    Directory of Open Access Journals (Sweden)

    Virginia eConde

    2012-05-01

    Full Text Available An efficient and fast auditory–motor network is a basic resource for trained musicians due to the importance of motor anticipation of sound production in musical performance. When playing an instrument, motor performance always goes along with the production of sounds and the integration between both modalities plays an essential role in the course of musical training. The aim of the present study was to investigate the role of task-irrelevant auditory feedback during motor performance in musicians using a serial reaction time task (SRTT. Our hypothesis was that musicians, due to their extensive auditory–motor practice routine during musical training, have a superior performance and learning capabilities when receiving auditory feedback during SRTT relative to musicians performing the SRTT without any auditory feedback. Here we provide novel evidence that task-irrelevant auditory feedback is capable to reinforce SRTT performance but not learning, a finding that might provide further insight into auditory-motor integration in musicians on a behavioral level.

  15. Pitch height modulates visual and haptic bisection performance in musicians

    Directory of Open Access Journals (Sweden)

    Carlotta eLega

    2014-04-01

    Full Text Available Consistent evidence suggests that pitch height may be represented in a spatial format, having both a vertical and an horizontal representation. The spatial representation of pitch height results into response compatibility effects for which high pitch tones are preferentially associated to up-right responses, and low pitch tones are preferentially associated to down-left responses (i.e., the SMARC effect, with the strength of these associations depending on individuals’ musical skills. In this study we investigated whether listening to tones of different pitch affects the representation of external space, as assessed in a visual and haptic line bisection paradigm, in musicians and non musicians. Low and high pitch tones affected the bisection performance in musicians differently, both when pitch was relevant and irrelevant for the task, and in both the visual and the haptic modality. No effect of pitch height was observed on the bisection performance of non musicians. Moreover, our data also show that musicians present a (supramodal rightward bisection bias in both the visual and the haptic modality, extending previous findings limited to the visual modality, and consistent with the idea that intense practice with musical notation and bimanual instrument training affects hemispheric lateralization.

  16. Reading sheet music facilitates sensorimotor mu-desynchronization in musicians.

    Science.gov (United States)

    Behmer, Lawrence Paul; Jantzen, Kelly J

    2011-07-01

    Recent brain imaging studies have demonstrated that the human mirror system, in addition to becoming active while viewing the actions of others, also responds to abstract visual and auditory stimuli associated with specific actions. Here, we test the hypothesis that when musicians read sheet music an associated motor act is automatically recruited in the same way as when we observe the actions of others. Using EEG, we measured event related desynchronization of the sensorimotor mu rhythm (mu-ERD) while musicians and non-musicians listened to music, observed movies of a musical instrument being played and observed a static image of the corresponding sheet music. Musicians showed significantly greater mu-ERD than non-musicians when observing sheet music and musical performances. Our results demonstrate that the human motor system aids in the process of perception and understanding by forming functional links between arbitrary, abstract percepts and associated acts. This research uniquely adds to the existing body of literature by demonstrating that abstract images are capable of triggering an "action understanding" system when viewed by experts who have formed the appropriate visual-motor association. Copyright © 2010 International Federation of Clinical Neurophysiology. Published by Elsevier Ireland Ltd. All rights reserved.

  17. Task-Irrelevant Auditory Feedback Facilitates Motor Performance in Musicians

    Science.gov (United States)

    Conde, Virginia; Altenmüller, Eckart; Villringer, Arno; Ragert, Patrick

    2012-01-01

    An efficient and fast auditory–motor network is a basic resource for trained musicians due to the importance of motor anticipation of sound production in musical performance. When playing an instrument, motor performance always goes along with the production of sounds and the integration between both modalities plays an essential role in the course of musical training. The aim of the present study was to investigate the role of task-irrelevant auditory feedback during motor performance in musicians using a serial reaction time task (SRTT). Our hypothesis was that musicians, due to their extensive auditory–motor practice routine during musical training, have superior performance and learning capabilities when receiving auditory feedback during SRTT relative to musicians performing the SRTT without any auditory feedback. Behaviorally, we found that auditory feedback reinforced SRTT performance of the right hand (referring to absolute response speed) while learning capabilities remained unchanged. This finding highlights a potential important role for task-irrelevant auditory feedback in motor performance in musicians, a finding that might provide further insight into auditory–motor integration independent of the trained musical context. PMID:22623920

  18. Functional Connectivity of the Dorsal Striatum in Female Musicians.

    Science.gov (United States)

    Tanaka, Shoji; Kirino, Eiji

    2016-01-01

    The dorsal striatum (caudate/putamen) is a node of the cortico-striato-pallido-thalamo-cortical (CSPTC) motor circuit, which plays a central role in skilled motor learning, a critical feature of musical performance. The dorsal striatum receives input from a large part of the cerebral cortex, forming a hub in the cortical-subcortical network. This study sought to examine how the functional network of the dorsal striatum differs between musicians and nonmusicians. Resting state functional magnetic resonance imaging (fMRI) data were acquired from female university students majoring in music and nonmusic disciplines. The data were subjected to functional connectivity analysis and graph theoretical analysis. The functional connectivity analysis indicated that compared with nonmusicians, musicians had significantly decreased connectivity between the left putamen and bilateral frontal operculum (FO) and between the left caudate nucleus and cerebellum. The graph theoretical analysis of the entire brain revealed that the degrees, which represent the numbers of connections, of the bilateral putamen were significantly lower in musicians than in nonmusicians. In conclusion, compared with nonmusicians, female musicians have a smaller functional network of the dorsal striatum with decreased connectivity. These data are consistent with previous anatomical studies reporting a reduced volume of the dorsal striatum in musicians and ballet dancers, suggesting that long-term musical training reshapes the functional network of the dorsal striatum to be less extensive or selective.

  19. Enhanced auditory evoked potentials in musicians: A review of recent findings

    Directory of Open Access Journals (Sweden)

    Himanshu Kumar Sanju

    2016-06-01

    Full Text Available Auditory evoked potentials serve as an objective mode for assessment to check the functioning of the auditory system and neuroplasticity. Literature has reported enhanced electrophysiological responses in musicians, which shows neuroplasticity in musicians. Various databases including PubMed, Google, Google Scholar and Medline were searched for references related to auditory evoked potentials in musicians from 1994 till date. Different auditory evoked potentials in musicians have been summarized in the present article. The findings of various studies may support as evidences for music-induced neuroplasticity which can be used for the treatment of various clinical disorders. The search results showed enhanced auditory evoked potentials in musicians compared to non-musicians from brainstem to cortical levels. Also, the present review showed enhanced attentive and pre-attentive skills in musicians compared to non-musicians.

  20. Musicians' edge: A comparison of auditory processing, cognitive abilities and statistical learning.

    Science.gov (United States)

    Mandikal Vasuki, Pragati Rao; Sharma, Mridula; Demuth, Katherine; Arciuli, Joanne

    2016-12-01

    It has been hypothesized that musical expertise is associated with enhanced auditory processing and cognitive abilities. Recent research has examined the relationship between musicians' advantage and implicit statistical learning skills. In the present study, we assessed a variety of auditory processing skills, cognitive processing skills, and statistical learning (auditory and visual forms) in age-matched musicians (N = 17) and non-musicians (N = 18). Musicians had significantly better performance than non-musicians on frequency discrimination, and backward digit span. A key finding was that musicians had better auditory, but not visual, statistical learning than non-musicians. Performance on the statistical learning tasks was not correlated with performance on auditory and cognitive measures. Musicians' superior performance on auditory (but not visual) statistical learning suggests that musical expertise is associated with an enhanced ability to detect statistical regularities in auditory stimuli. Copyright © 2016 Elsevier B.V. All rights reserved.

  1. Pulmonary vascular endothelium: the orchestra conductor in respiratory diseases: Highlights from basic research to therapy.

    Science.gov (United States)

    Huertas, Alice; Guignabert, Christophe; Barberà, Joan A; Bärtsch, Peter; Bhattacharya, Jahar; Bhattacharya, Sunita; Bonsignore, Maria R; Dewachter, Laurence; Dinh-Xuan, Anh Tuan; Dorfmüller, Peter; Gladwin, Mark T; Humbert, Marc; Kotsimbos, Tom; Vassilakopoulos, Theodoros; Sanchez, Olivier; Savale, Laurent; Testa, Ugo; Wilkins, Martin R

    2018-04-01

    The European Respiratory Society (ERS) Research Seminar entitled "Pulmonary vascular endothelium: orchestra conductor in respiratory diseases - highlights from basic research to therapy" brought together international experts in dysfunctional pulmonary endothelium, from basic science to translational medicine, to discuss several important aspects in acute and chronic lung diseases. This review will briefly sum up the different topics of discussion from this meeting which was held in Paris, France on October 27-28, 2016. It is important to consider that this paper does not address all aspects of endothelial dysfunction but focuses on specific themes such as: 1) the complex role of the pulmonary endothelium in orchestrating the host response in both health and disease (acute lung injury, chronic obstructive pulmonary disease, high-altitude pulmonary oedema and pulmonary hypertension); and 2) the potential value of dysfunctional pulmonary endothelium as a target for innovative therapies. Copyright ©ERS 2018.

  2. Prokofieff: Krieg und Frieden (Sinfonische Suite), Die Verlobung im Kloster (Sommernacht-Suite), Russische Overtüre. Philharmonia Orchestra, Neeme Järvi / G. W.

    Index Scriptorium Estoniae

    G. W.

    1993-01-01

    Uuest heliplaadist "Prokofieff: Krieg und Frieden (Sinfonische Suite), Die Verlobung im Kloster (Sommernacht-Suite), Russische Overtüre. Philharmonia Orchestra, Neeme Järvi. (AD: 1991). Chandos/Koch CD 9096

  3. Perceived Performance Anxiety in Advanced Musicians Specializing in Different Musical Genres

    Science.gov (United States)

    Papageorgi, Ioulia; Creech, Andrea; Welch, Graham

    2013-01-01

    Most research on musical performance anxiety has focused on musicians coming from a classical background, and performance anxiety experiences of musicians outside the western classical genre remain under-researched. The aim of this study was to investigate perceived performance anxiety experiences in undergraduate and professional musicians and to…

  4. The Effect of Conceptual Advancement in Jazz Music Selections and Jazz Experience on Musicians' Aesthetic Response

    Science.gov (United States)

    Coggiola, John C.

    2004-01-01

    This study is an investigation of what musicians consider to be their aesthetic experience with jazz music selections that vary in level of conceptual advancement (melodic complexity during improvised solos). Music major participants (N = 128) were assigned to either the jazz musician (n = 64) or nonjazz musician (n = 64) group. Data were gathered…

  5. Verbal memory retrieval engages visual cortex in musicians.

    Science.gov (United States)

    Huang, Z; Zhang, J X; Yang, Z; Dong, G; Wu, J; Chan, A S; Weng, X

    2010-06-16

    As one major line of research on brain plasticity, many imaging studies have been conducted to identify the functional and structural reorganization associated with musical expertise. Based on previous behavioral research, the present study used functional magnetic resonance imaging to identify the neural correlates of superior verbal memory performance in musicians. Participants with and without musical training performed a verbal memory task to first encode a list of words auditorily delivered and then silently recall as many words as possible. They performed in separate blocks a control task involving pure tone pitch judgment. Post-scan recognition test showed better memory performance in musicians than non-musicians. During memory retrieval, the musicians showed significantly greater activations in bilateral though left-lateralized visual cortex relative to the pitch judgment baseline. In comparison, no such visual cortical activations were found in the non-musicians. No group differences were observed during the encoding stage. The results echo a previous report of visual cortical activation during verbal memory retrieval in the absence of any visual sensory stimulation in the blind population, who are also known to possess superior verbal memory. It is suggested that the visual cortex can be recruited to serve as extra memory resources and contributes to the superior verbal memory in special situations. While in the blind population, such cross-modal functional reorganization may be induced by sensory deprivation; in the musicians it may be induced by the long-term and demanding nature of musical training to use as much available neural resources as possible. 2010 IBRO. Published by Elsevier Ltd. All rights reserved.

  6. Musicians have better memory than nonmusicians: A meta-analysis.

    Directory of Open Access Journals (Sweden)

    Francesca Talamini

    Full Text Available Several studies have found that musicians perform better than nonmusicians in memory tasks, but this is not always the case, and the strength of this apparent advantage is unknown. Here, we conducted a meta-analysis with the aim of clarifying whether musicians perform better than nonmusicians in memory tasks.Education Source; PEP (WEB-Psychoanalytic Electronic Publishing; Psychology and Behavioral Science (EBSCO; PsycINFO (Ovid; PubMed; ScienceDirect-AllBooks Content (Elsevier API; SCOPUS (Elsevier API; SocINDEX with Full Text (EBSCO and Google Scholar were searched for eligible studies. The selected studies involved two groups of participants: young adult musicians and nonmusicians. All the studies included memory tasks (loading long-term, short-term or working memory that contained tonal, verbal or visuospatial stimuli. Three meta-analyses were run separately for long-term memory, short-term memory and working memory.We collected 29 studies, including 53 memory tasks. The results showed that musicians performed better than nonmusicians in terms of long-term memory, g = .29, 95% CI (.08-.51, short-term memory, g = .57, 95% CI (.41-.73, and working memory, g = .56, 95% CI (.33-.80. To further explore the data, we included a moderator (the type of stimulus presented, i.e., tonal, verbal or visuospatial, which was found to influence the effect size for short-term and working memory, but not for long-term memory. In terms of short-term and working memory, the musicians' advantage was large with tonal stimuli, moderate with verbal stimuli, and small or null with visuospatial stimuli.The three meta-analyses revealed a small effect size for long-term memory, and a medium effect size for short-term and working memory, suggesting that musicians perform better than nonmusicians in memory tasks. Moreover, the effect of the moderator suggested that, the type of stimuli influences this advantage.

  7. Musicians have better memory than nonmusicians: A meta-analysis.

    Science.gov (United States)

    Talamini, Francesca; Altoè, Gianmarco; Carretti, Barbara; Grassi, Massimo

    2017-01-01

    Several studies have found that musicians perform better than nonmusicians in memory tasks, but this is not always the case, and the strength of this apparent advantage is unknown. Here, we conducted a meta-analysis with the aim of clarifying whether musicians perform better than nonmusicians in memory tasks. Education Source; PEP (WEB)-Psychoanalytic Electronic Publishing; Psychology and Behavioral Science (EBSCO); PsycINFO (Ovid); PubMed; ScienceDirect-AllBooks Content (Elsevier API); SCOPUS (Elsevier API); SocINDEX with Full Text (EBSCO) and Google Scholar were searched for eligible studies. The selected studies involved two groups of participants: young adult musicians and nonmusicians. All the studies included memory tasks (loading long-term, short-term or working memory) that contained tonal, verbal or visuospatial stimuli. Three meta-analyses were run separately for long-term memory, short-term memory and working memory. We collected 29 studies, including 53 memory tasks. The results showed that musicians performed better than nonmusicians in terms of long-term memory, g = .29, 95% CI (.08-.51), short-term memory, g = .57, 95% CI (.41-.73), and working memory, g = .56, 95% CI (.33-.80). To further explore the data, we included a moderator (the type of stimulus presented, i.e., tonal, verbal or visuospatial), which was found to influence the effect size for short-term and working memory, but not for long-term memory. In terms of short-term and working memory, the musicians' advantage was large with tonal stimuli, moderate with verbal stimuli, and small or null with visuospatial stimuli. The three meta-analyses revealed a small effect size for long-term memory, and a medium effect size for short-term and working memory, suggesting that musicians perform better than nonmusicians in memory tasks. Moreover, the effect of the moderator suggested that, the type of stimuli influences this advantage.

  8. Context effects on pitch perception in musicians and nonmusicians

    DEFF Research Database (Denmark)

    Brattico, E; Naatanen, R; Tervaniemi, M

    2001-01-01

    Behavioral evidence indicates that musical context facilitates pitch discrimination. In the present study, we sought to determine whether pitch context and its familiarity might affect brain responses to pitch change even at the preattentive level. Ten musicians and 10 nonmusicians, while...... is generally enhanced in a familiar context. Moreover, the latency of the mismatch negativity was shorter for musicians than for nonmusicians in both the familiar and unfamiliar conditions, whereas no difference between groups was observed in the no-context condition. This finding indicates that, in response...

  9. [Contribution to the study of laterality in professional musicians].

    Science.gov (United States)

    Chouard, C H

    1991-01-01

    Left-handed professional musicians percentage is not significantly different from normal population, excepted for piano, organ and harpsichord players. For these instruments the melody is always written for the right hand, probably because of the location of the frequencies which are the most easily perceived by the human ear on the right part of the keyboard. Thus for a lefthanded musician to play piano is comparable to write with his right hand, and as a consequence leads him to play an other instrument for his professional activity.

  10. Tinnitus, Anxiety, Depression and Substance Abuse in Rock Musicians a Norwegian Survey.

    Science.gov (United States)

    Stormer, Carl Christian Lein; Sorlie, Tore; Stenklev, Niels Christian

    2017-06-01

    Rock musicians are known to have an increased prevalence of hearing loss and tinnitus. The aims of the present study were to examine the distribution of anxiety and depression symptoms among rock musicians with or without tinnitus and how these mental health indicators and internal locus of control influenced upon their tinnitus symptom concerns and the degree to which the tinnitus affected their lives. The study was a questionnairebased cross-sectional survey of subjects selected from a cohort of rock musicians. We recruited 111 active musicians from the Oslo region, and a control group of 40 non-musicians from the student population at the University of Tromso. Among the rock musicians 19.8% reported permanent tinnitus vs. 0% among the controls. Musicians more often reported anxiety symptoms than controls (35.1% vs. 17.5%), however this prevalence was not different in musicians with and without tinnitus. Tinnitus-affected musicians reported depressive symptoms, significantly more than controls (13.6% vs. 5%). Rock musicians consumed more alcohol than controls, but alcohol consumption was unrelated to severity of tinnitus. Drug abuse was not more prevalent in rock musicians than in controls. Duration of tinnitus, internal locus of control, sleep disturbance and anxiety were significant predictors of how affected and how concerned musicians were about their tinnitus. Rock musicians are at risk for the development of chronic tinnitus, and they have an increased prevalence of anxiety. There is an association between chronic tinnitus and depressive symptoms in rock musicians, but our results are ambiguous. Although rock musicians have a chronic exposure to noise, noise-induced hearing loss is not the sole causative agent for the development of tinnitus.

  11. Arensky. Silhouettes (Suite N 2), Op. 23 / Jonathan Swain

    Index Scriptorium Estoniae

    Swain, Jonathan

    1991-01-01

    Uuest heliplaadist "Arensky. Silhouettes (Suite N 2), Op. 23. Scrjabin. Symphony N 3 in C minor, Op. 43 "Le divin poeme". Danish National Radio Symphony Orchestra. Neeme Järvi. Chandos cassette ABTD 1509; CD CHAN 8898 (66 minutes)

  12. Hindemith: Symphonic Metamorphosis on Themes of Carl Maria von Weber / Jonathan Swain

    Index Scriptorium Estoniae

    Swain, Jonathan

    1990-01-01

    Uuest heliplaadist "Hindemith: Symphonic Metamorphosis on Themes of Carl Maria von Weber, Mathis der Maler - Symphony, Nobilissima visione - suite. Atlanta Symphony Orchestra, Yoel Levi" Telarc/ Conifer CD 80 195

  13. Investigation and experimental validation of the contribution of optical interconnects in the SYMPHONIE massively parallel computer

    International Nuclear Information System (INIS)

    Scheer, Patrick

    1998-01-01

    Progress in microelectronics lead to electronic circuits which are increasingly integrated, with an operating frequency and an inputs/outputs count larger than the ones supported by printed circuit board and back-plane technologies. As a result, distributed systems with several boards cannot fully exploit the performance of integrated circuits. In synchronous parallel computers, the situation is worsen since the overall system performances rely on the efficiency of electrical interconnects between the integrated circuits which include the processing elements (PE). The study of a real parallel computer named SYMPHONIE shows for instance that the system operating frequency is far smaller than the capabilities of the microelectronics technology used for the PE implementation. Optical interconnections may cancel these limitations by providing more efficient connections between the PE. Especially, free-space optical interconnections based on vertical-cavity surface-emitting lasers (VCSEL), micro-lens and PIN photodiodes are compatible with the required features of the PE communications. Zero bias modulation of VCSEL with CMOS-compatible digital signals is studied and experimentally demonstrated. A model of the propagation of truncated gaussian beams through micro-lenses is developed. It is then used to optimise the geometry of the detection areas. A dedicated mechanical system is also proposed and implemented for integrating free-space optical interconnects in a standard electronic environment, representative of the one of parallel computer systems. A specially designed demonstrator provides the experimental validation of the above physical concepts. (author) [fr

  14. Emotions, arousal, and frontal alpha rhythm asymmetry during Beethoven's 5th symphony.

    Science.gov (United States)

    Mikutta, Christian; Altorfer, Andreas; Strik, Werner; Koenig, Thomas

    2012-10-01

    Music is capable of inducing emotional arousal. While previous studies used brief musical excerpts to induce one specific emotion, the current study aimed to identify the physiological correlates of continuous changes in subjective emotional states while listening to a complete music piece. A total of 19 participants listened to the first movement of Ludwig van Beethoven's 5th symphony (duration: ~7.4 min), during which a continuous 76-channel EEG was recorded. In a second session, the subjects evaluated their emotional arousal during the listening. A fast fourier transform was performed and covariance maps of spectral power were computed in association with the subjective arousal ratings. Subjective arousal ratings had good inter-individual correlations. Covariance maps showed a right-frontal suppression of lower alpha-band activity during high arousal. The results indicate that music is a powerful arousal-modulating stimulus. The temporal dynamics of the piece are well suited for sequential analysis, and could be necessary in helping unfold the full emotional power of music.

  15. Einstein's unfinished symphony listening to the sounds of space-time

    CERN Document Server

    Bartusiak, Marcia

    2000-01-01

    A new generation of observatories, now being completed worldwide, will give astronomers not just a new window on the cosmos but a whole new sense with which to explore and experience the heavens above us. Instead of collecting light waves or radio waves, these novel instruments will allow astronomers to at last place their hands upon the fabric of space-time and feel the very rhythms of the universe. These vibrations in space-time-or gravity waves-are the last prediction of Einstein's general theory of relativity yet to be observed directly. They are his unfinished symphony, waiting nearly a century to be heard. When they finally reveal themselves to astronomers, we will for the first time be able to hear the cymbal crashes from exploding stars, tune in to the periodic drumbeats from swiftly rotating pulsars, listen to the extended chirps from the merger of two black holes, and eavesdrop on the remnant echoes from the mighty jolt of the Big Bang itself. When Einstein introduced general relativity in 1915, it ...

  16. Examining the noisy life of the college musician: weeklong noise dosimetry of music and non-music activities.

    Science.gov (United States)

    Tufts, Jennifer B; Skoe, Erika

    2018-02-01

    To examine the contribution of all daily activities, including non-music activities, to the overall noise exposure of college student musicians, and to compare their "noise lives" with those of non-musician college students. Continuous week-long dosimetry measurements were collected on student musicians and non-musicians. During the measurement period, participants recorded their daily activities in journals. 22 musicians and 40 non-musicians, all students (aged 18-24 years) at the University of Connecticut. On every day of the week, musicians experienced significantly higher average exposure levels than did non-musicians. Nearly half (47%) of the musicians' days exceeded a daily dose of 100%, compared with 10% of the non-musicians' days. When the exposure due to music activities was removed, musicians still led noisier lives, largely due to participation in noisier social activities. For some musicians, non-music activities contributed a larger share of their total weekly noise exposure than did their music activities. Compared with their non-musician peers, college student musicians are at higher risk for noise-induced hearing loss (NIHL). On a weekly basis, non-music activities may pose a greater risk to some musicians than music activities. Thus, hearing health education for musicians should include information about the contribution of lifestyle factors outside of music to NIHL risk.

  17. Queixas musculoesqueléticas em músicos: prevalência e fatores de risco Playing-related musculoskeletal complaints among musicians: prevalence and risk factors

    Directory of Open Access Journals (Sweden)

    Annemarie Frank

    2007-06-01

    Full Text Available Disfunções musculoesqueléticas relacionadas à prática instrumental são freqüentes entre músicos, atingindo acima de 70% dos componentes de orquestras. O exercício da música como profissão requer ampla diferenciação e produtividade de capacidades tanto psicológicas, mentais, como também físicas. Muitos fatores de risco contribuem para o surgimento de queixas musculoesqueléticas durante a prática musical, entre eles: a técnica individual, as condições físicas do músico e o instrumento em si. Podem ocorrer distúrbios reumatológicos, neurológicos, dermatológicos e psicológicos, assim como problemas de visão e audição e do complexo orofacial. As queixas no aparelho motor manifestam-se, muitas vezes, como dor, fraqueza ou tensão. Os diagnósticos do membro superior mais freqüentemente estabelecidos são as tendinopatias, mialgias e a síndrome do superuso. O médico e o terapeuta responsáveis devem conhecer as atividades e cargas do músico profissional, para que sejam proporcionadas avaliação e estratégia terapêutica adequadas.Playing-related musculoskeletal complaints are often found among musicians, taking a toll in more than 70% of professional musicians in orchestras. Professional musical performance requires a high level of differenciation and efficiency of psychological, mental and physical skills. Many risk factors can contribute to the development of musculoskeletal conditions in this special population, like the individual technique, physical fitness of the musician and the instrument itself. Many rheumatic, neurological, dermatological, and psychiatric problems are reported, as well as dysfunctions of the visual, auditive and oral system. The musculoskeletal complaints often manifest as pain, weakness or tension, and the most common diagnoses of the upper limb are tendinopathies, myalgia and overuse syndromes. It is necessary for the skilfull physician and physical therapist to have a thorough knowledge

  18. Auditory temporal processing skills in musicians with dyslexia.

    Science.gov (United States)

    Bishop-Liebler, Paula; Welch, Graham; Huss, Martina; Thomson, Jennifer M; Goswami, Usha

    2014-08-01

    The core cognitive difficulty in developmental dyslexia involves phonological processing, but adults and children with dyslexia also have sensory impairments. Impairments in basic auditory processing show particular links with phonological impairments, and recent studies with dyslexic children across languages reveal a relationship between auditory temporal processing and sensitivity to rhythmic timing and speech rhythm. As rhythm is explicit in music, musical training might have a beneficial effect on the auditory perception of acoustic cues to rhythm in dyslexia. Here we took advantage of the presence of musicians with and without dyslexia in musical conservatoires, comparing their auditory temporal processing abilities with those of dyslexic non-musicians matched for cognitive ability. Musicians with dyslexia showed equivalent auditory sensitivity to musicians without dyslexia and also showed equivalent rhythm perception. The data support the view that extensive rhythmic experience initiated during childhood (here in the form of music training) can affect basic auditory processing skills which are found to be deficient in individuals with dyslexia. Copyright © 2014 John Wiley & Sons, Ltd.

  19. Faster sound stream segmentation in musicians than in nonmusicians.

    Directory of Open Access Journals (Sweden)

    Clément François

    Full Text Available The musician's brain is considered as a good model of brain plasticity as musical training is known to modify auditory perception and related cortical organization. Here, we show that music-related modifications can also extend beyond motor and auditory processing and generalize (transfer to speech processing. Previous studies have shown that adults and newborns can segment a continuous stream of linguistic and non-linguistic stimuli based only on probabilities of occurrence between adjacent syllables, tones or timbres. The paradigm classically used in these studies consists of a passive exposure phase followed by a testing phase. By using both behavioural and electrophysiological measures, we recently showed that adult musicians and musically trained children outperform nonmusicians in the test following brief exposure to an artificial sung language. However, the behavioural test does not allow for studying the learning process per se but rather the result of the learning. In the present study, we analyze the electrophysiological learning curves that are the ongoing brain dynamics recorded as the learning is taking place. While musicians show an inverted U shaped learning curve, nonmusicians show a linear learning curve. Analyses of Event-Related Potentials (ERPs allow for a greater understanding of how and when musical training can improve speech segmentation. These results bring evidence of enhanced neural sensitivity to statistical regularities in musicians and support the hypothesis of positive transfer of training effect from music to sound stream segmentation in general.

  20. Musicians working in community contexts : Perspectives of learning

    NARCIS (Netherlands)

    Rineke Smilde

    2012-01-01

    This paper will explore types of learning, which takes place when musicians work in situations where they have to connect to community contexts. It will first address musicians’ changing professional roles in the changing sociocultural landscape and the need for lifelong learning and emergence of

  1. One-Handed Musicians-More Than a Gimmick

    NARCIS (Netherlands)

    Woldendorp, K. H.; van Gils, W.

    2012-01-01

    There are many musicians with acquired limitations in making music, and there are many people with a disability who would like to play a music instrument in a modified way. There is discouragingly little information about this topic in literature. This article gives an overview of "making music in a

  2. Memorization by a Jazz Musician: A Case Study

    Science.gov (United States)

    Noice, Helga; Jeffrey, John; Noice, Tony; Chaffin, Roger

    2008-01-01

    To investigate the memory strategies of jazz musicians, we videotaped an experienced jazz pianist as he learned a new bebop piece. He had not previously heard a recording of the selection, nor had he seen the written music. The pianist provided detailed reports of the musical structure and the types of cues he used as landmarks to guide his…

  3. Jazz Musicians as Academic Leaders: Improvisation in Higher Education

    Science.gov (United States)

    Kleinschmidt, Robert A.

    2011-01-01

    Jazz musicians are unique individuals who seek to perform from a transcendental state in which tacit knowledge, teamwork, and communication blend to produce an effective performance. Academic leaders are also unique individuals who rely on communication to generate a sense of inclusion within a complex organization that at times epitomizes…

  4. Faster sound stream segmentation in musicians than in nonmusicians.

    Science.gov (United States)

    François, Clément; Jaillet, Florent; Takerkart, Sylvain; Schön, Daniele

    2014-01-01

    The musician's brain is considered as a good model of brain plasticity as musical training is known to modify auditory perception and related cortical organization. Here, we show that music-related modifications can also extend beyond motor and auditory processing and generalize (transfer) to speech processing. Previous studies have shown that adults and newborns can segment a continuous stream of linguistic and non-linguistic stimuli based only on probabilities of occurrence between adjacent syllables, tones or timbres. The paradigm classically used in these studies consists of a passive exposure phase followed by a testing phase. By using both behavioural and electrophysiological measures, we recently showed that adult musicians and musically trained children outperform nonmusicians in the test following brief exposure to an artificial sung language. However, the behavioural test does not allow for studying the learning process per se but rather the result of the learning. In the present study, we analyze the electrophysiological learning curves that are the ongoing brain dynamics recorded as the learning is taking place. While musicians show an inverted U shaped learning curve, nonmusicians show a linear learning curve. Analyses of Event-Related Potentials (ERPs) allow for a greater understanding of how and when musical training can improve speech segmentation. These results bring evidence of enhanced neural sensitivity to statistical regularities in musicians and support the hypothesis of positive transfer of training effect from music to sound stream segmentation in general.

  5. Descriptions of Improvisational Thinking by Artist-Level Jazz Musicians

    Science.gov (United States)

    Norgaard, Martin

    2011-01-01

    Thought processes of seven artist-level jazz musicians, each of whom recorded an improvised solo, were investigated. Immediately after completing their improvisations, participants listened to recordings of their playing and looked at the notation of their solos as they described in a directed interview the thinking processes that led to the…

  6. Faster Sound Stream Segmentation in Musicians than in Nonmusicians

    Science.gov (United States)

    François, Clément; Jaillet, Florent; Takerkart, Sylvain; Schön, Daniele

    2014-01-01

    The musician's brain is considered as a good model of brain plasticity as musical training is known to modify auditory perception and related cortical organization. Here, we show that music-related modifications can also extend beyond motor and auditory processing and generalize (transfer) to speech processing. Previous studies have shown that adults and newborns can segment a continuous stream of linguistic and non-linguistic stimuli based only on probabilities of occurrence between adjacent syllables, tones or timbres. The paradigm classically used in these studies consists of a passive exposure phase followed by a testing phase. By using both behavioural and electrophysiological measures, we recently showed that adult musicians and musically trained children outperform nonmusicians in the test following brief exposure to an artificial sung language. However, the behavioural test does not allow for studying the learning process per se but rather the result of the learning. In the present study, we analyze the electrophysiological learning curves that are the ongoing brain dynamics recorded as the learning is taking place. While musicians show an inverted U shaped learning curve, nonmusicians show a linear learning curve. Analyses of Event-Related Potentials (ERPs) allow for a greater understanding of how and when musical training can improve speech segmentation. These results bring evidence of enhanced neural sensitivity to statistical regularities in musicians and support the hypothesis of positive transfer of training effect from music to sound stream segmentation in general. PMID:25014068

  7. The Role of Personality in Musicians' Information Seeking for Creativity

    Science.gov (United States)

    Kostagiolas, Petros; Lavranos, Charilaos; Martzoukou, Konstantina; Papadatos, Joseph

    2017-01-01

    Introduction: This paper explores the relationship between musicians' information seeking behaviour and their personality traits within the context of musical creativity. Although previous research has addressed different socio-technological and behavioral aspects of music information seeking, the role of personality characteristics around…

  8. 159 THE ROLE OF MUSIC AND MUSICIANS IN PROMOTING ...

    African Journals Online (AJOL)

    User

    malnutrition, diseases, abduction and other numerous disheartening situations. This period, in a nutshell, is not .... embroiled in the power of their music to entertain, educate, socialize, symbolize, mobilize, motivate, .... image those at the seat of power should project'. Even at community levels, musicians are not always ...

  9. "What Is a Good Musician?" An Analysis of Student Beliefs

    Science.gov (United States)

    Randles, Clint

    2011-01-01

    The purpose of this study was to discover relationships in student perceptions of what it means to be a "good musician" across grade level, with regard to gender, and according to different school music affiliations among an intact school culture. The specific problems were to determine (1) what percentage of students choose to…

  10. Musicians have better memory than nonmusicians: A meta-analysis

    Science.gov (United States)

    Altoè, Gianmarco; Carretti, Barbara; Grassi, Massimo

    2017-01-01

    Background Several studies have found that musicians perform better than nonmusicians in memory tasks, but this is not always the case, and the strength of this apparent advantage is unknown. Here, we conducted a meta-analysis with the aim of clarifying whether musicians perform better than nonmusicians in memory tasks. Methods Education Source; PEP (WEB)—Psychoanalytic Electronic Publishing; Psychology and Behavioral Science (EBSCO); PsycINFO (Ovid); PubMed; ScienceDirect—AllBooks Content (Elsevier API); SCOPUS (Elsevier API); SocINDEX with Full Text (EBSCO) and Google Scholar were searched for eligible studies. The selected studies involved two groups of participants: young adult musicians and nonmusicians. All the studies included memory tasks (loading long-term, short-term or working memory) that contained tonal, verbal or visuospatial stimuli. Three meta-analyses were run separately for long-term memory, short-term memory and working memory. Results We collected 29 studies, including 53 memory tasks. The results showed that musicians performed better than nonmusicians in terms of long-term memory, g = .29, 95% CI (.08–.51), short-term memory, g = .57, 95% CI (.41–.73), and working memory, g = .56, 95% CI (.33–.80). To further explore the data, we included a moderator (the type of stimulus presented, i.e., tonal, verbal or visuospatial), which was found to influence the effect size for short-term and working memory, but not for long-term memory. In terms of short-term and working memory, the musicians’ advantage was large with tonal stimuli, moderate with verbal stimuli, and small or null with visuospatial stimuli. Conclusions The three meta-analyses revealed a small effect size for long-term memory, and a medium effect size for short-term and working memory, suggesting that musicians perform better than nonmusicians in memory tasks. Moreover, the effect of the moderator suggested that, the type of stimuli influences this advantage. PMID:29049416

  11. Prevalence and function of Heschl's gyrus morphotypes in musicians.

    Science.gov (United States)

    Benner, Jan; Wengenroth, Martina; Reinhardt, Julia; Stippich, Christoph; Schneider, Peter; Blatow, Maria

    2017-11-01

    Morphological variations of the first transverse Heschl's gyrus (HG) in the human auditory cortex (AC) are common, yet little is known about their functional implication. We investigated individual morphology and function of HG variations in the AC of 41 musicians, using structural and functional magnetic resonance imaging (fMRI) as well as magnetoencephalography (MEG). Four main morphotypes of HG were (i) single HG, (ii) common stem duplication (CSD), (iii) complete posterior duplication (CPD), and (iv) multiple duplications (MD). The vast majority of musicians (90%) exhibited HG multiplications (type ii-iv) in either one (39%) or both (51%) hemispheres. In 27% of musicians, MD with up to four gyri were found. To probe the functional contribution of HG multiplications to auditory processing we performed fMRI and MEG with auditory stimulation using analogous instrumental tone paradigms. Both methods pointed to the recruitment of all parts of HG during auditory stimulation, including multiplications if present. FMRI activations extended with the degree of HG gyrification. MEG source waveform patterns were distinct for the different types of HG: (i) hemispheres with single HG and (ii) CSD exhibited dominant N1 responses, whereas hemispheres with (iii) CPD and (iv) MD exhibited dominant P1 responses. N1 dipole amplitudes correlated with the localization of the first complete Heschl's sulcus (cHS), designating the most posterior anatomical border of HG. P2 amplitudes were significantly higher in professional as compared to amateur musicians. The results suggest that HG multiplications occur much more frequently in musicians than in the general population and constitute a functional unit with HG.

  12. Long-term musical training may improve different forms of visual attention ability.

    Science.gov (United States)

    Rodrigues, Ana Carolina; Loureiro, Maurício Alves; Caramelli, Paulo

    2013-08-01

    Many studies have suggested that structural and functional cerebral neuroplastic processes result from long-term musical training, which in turn may produce cognitive differences between musicians and non-musicians. We aimed to investigate whether intensive, long-term musical practice is associated with improvements in three different forms of visual attention ability: selective, divided and sustained attention. Musicians from symphony orchestras (n=38) and non-musicians (n=38), who were comparable in age, gender and education, were submitted to three neuropsychological tests, measuring reaction time and accuracy. Musicians showed better performance relative to non-musicians on four variables of the three visual attention tests, and such an advantage could not solely be explained by better sensorimotor integration. Moreover, in the group of musicians, significant correlations were observed between the age at the commencement of musical studies and reaction time in all visual attention tests. The results suggest that musicians present augmented ability in different forms of visual attention, thus illustrating the possible cognitive benefits of long-term musical training. Copyright © 2013 Elsevier Inc. All rights reserved.

  13. Do musicians with perfect pitch have more autism traits than musicians without perfect pitch? An empirical study.

    Science.gov (United States)

    Dohn, Anders; Garza-Villarreal, Eduardo A; Heaton, Pamela; Vuust, Peter

    2012-01-01

    Perfect pitch, also known as absolute pitch (AP), refers to the rare ability to identify or produce a musical tone correctly without the benefit of an external reference. AP is often considered to reflect musical giftedness, but it has also been associated with certain disabilities due to increased prevalence of AP in individuals with sensory and developmental disorders. Here, we determine whether individual autistic traits are present in people with AP. We quantified subclinical levels of autism traits using the Autism-Spectrum Quotient (AQ) in three matched groups of subjects: 16 musicians with AP (APs), 18 musicians without AP (non-APs), and 16 non-musicians. In addition, we measured AP ability by a pitch identification test with sine wave tones and piano tones. We found a significantly higher degree of autism traits in APs than in non-APs and non-musicians, and autism scores were significantly correlated with pitch identification scores (r = .46, p = .003). However, our results showed that APs did not differ from non-APs on diagnostically crucial social and communicative domain scores and their total AQ scores were well below clinical thresholds for autism. Group differences emerged on the imagination and attention switching subscales of the AQ. Thus, whilst these findings do link AP with autism, they also show that AP ability is most strongly associated with personality traits that vary widely within the normal population.

  14. Effects of regularity on the processing of sound omission in a tone sequence in musicians and non-musicians.

    Science.gov (United States)

    Ono, Kentaro; Matsuhashi, Masao; Mima, Tatsuya; Fukuyama, Hidenao; Altmann, Christian F

    2013-09-01

    Numerous studies have reported that perceptual grouping affects the pre-attentive processing of sound omission in a sequence of tones. However, it remains unclear whether or not the perceptual grouping and musical experience affect the attentive processing of sound omission. To this end, we created a sequence of loud (L) and soft (S) tones grouped as 'LLSLLS…' and a random sequence of the L and S tones. The omission of the L tones was inserted pseudo-randomly in the random sequence, and there were two positions at which it was inserted. For within-group omission, the omission was after the first L tone within the 'LLS' pattern. For between-group omission, the omission was inserted between the patterns. The brain response to the omission in musicians and non-musicians was measured using magnetoencephalography. During the magnetoencephalography measurement, the subjects' performance in a task to detect the omission was faster in the random sequence than in the group sequence. Source analysis showed that the omission in the random sequence caused greater activity than that in the group sequence. The increase was found in the right inferior parietal lobe in musicians, whereas it was found in the left superior temporal gyrus in non-musicians. These results suggest that the attentive processing of perceptual grouping might implicate the left superior temporal gyrus or right inferior parietal lobe, depending on musical experience. © 2013 Federation of European Neuroscience Societies and John Wiley & Sons Ltd.

  15. Bohuslav Martinů’s Symphony No. 4 (1945). Evaluation of the Sources and Effects on Performance

    OpenAIRE

    Choa, Sharon

    2011-01-01

    As far as it is known, there are more extant sources for Martinů’s Fourth Symphony than any of his other symphonic works. Examining these sources reveals a series of changes Martinů made in his score since its first completion in June 1945. Even though the changes are not very substantial, they were sufficiently significant to alter an interpreter’s view of the orchestration of the work; in particular, the role of the piano within the orchestral texture. Collecting and examining the source...

  16. Music listening engages specific cortical regions within the temporal lobes: differences between musicians and non-musicians.

    Science.gov (United States)

    Angulo-Perkins, Arafat; Aubé, William; Peretz, Isabelle; Barrios, Fernando A; Armony, Jorge L; Concha, Luis

    2014-10-01

    Music and speech are two of the most relevant and common sounds in the human environment. Perceiving and processing these two complex acoustical signals rely on a hierarchical functional network distributed throughout several brain regions within and beyond the auditory cortices. Given their similarities, the neural bases for processing these two complex sounds overlap to a certain degree, but particular brain regions may show selectivity for one or the other acoustic category, which we aimed to identify. We examined 53 subjects (28 of them professional musicians) by functional magnetic resonance imaging (fMRI), using a paradigm designed to identify regions showing increased activity in response to different types of musical stimuli, compared to different types of complex sounds, such as speech and non-linguistic vocalizations. We found a region in the anterior portion of the superior temporal gyrus (aSTG) (planum polare) that showed preferential activity in response to musical stimuli and was present in all our subjects, regardless of musical training, and invariant across different musical instruments (violin, piano or synthetic piano). Our data show that this cortical region is preferentially involved in processing musical, as compared to other complex sounds, suggesting a functional role as a second-order relay, possibly integrating acoustic characteristics intrinsic to music (e.g., melody extraction). Moreover, we assessed whether musical experience modulates the response of cortical regions involved in music processing and found evidence of functional differences between musicians and non-musicians during music listening. In particular, bilateral activation of the planum polare was more prevalent, but not exclusive, in musicians than non-musicians, and activation of the right posterior portion of the superior temporal gyrus (planum temporale) differed between groups. Our results provide evidence of functional specialization for music processing in specific

  17. New age in Serbia, Zoran Simjanović: New ideas symphony

    Directory of Open Access Journals (Sweden)

    Radović Branka

    2007-01-01

    Full Text Available ′New age′ was a trend which appeared in the music of the 1980’s, bringing a new dimension to art music in general, especially in its reception. At first its development was stimulated by technological inventions, ′the technological craze′, by new carriers of sound, simultaneously globalizing art and making it widely accessible. This new trend includes quite disparate categories. It does not distance itself from subculture, and in art music it gravitates towards cosmopolitism while being permeated with other musical trends such as pop, rock, jazz and other phenomena of show business and popular art. This trend was originally found in the large number of occult writing which flooded book markets all over the world, to which Umberto Eco gave an important base (Foucault's Pendulum and others. In his essay on the music of the eighties, Peter Niklas Wilson, one of the most significant theoreticians of this movement, researches into all elements of those novelties, not hesitating to call this art eclectic, commercial and the like. Examples of Serbian music get into such style directives. The New Ideas Symphony by film score composer Zoran Simjanović, was performed in the open air at Kalemegdan fortress in 2006, before an audience of about one thousand people. Since then the recording has often been broadcast on television and radio channels. In its combination of folklore and film models, traces of rock, pop, and jazz can also be found, in a score with all symphonic characteristics. This attempt is a fascinating item for research as well as a pleasure to be listened to.

  18. Auditory Profiles of Classical, Jazz, and Rock Musicians: Genre-Specific Sensitivity to Musical Sound Features.

    Science.gov (United States)

    Tervaniemi, Mari; Janhunen, Lauri; Kruck, Stefanie; Putkinen, Vesa; Huotilainen, Minna

    2015-01-01

    When compared with individuals without explicit training in music, adult musicians have facilitated neural functions in several modalities. They also display structural changes in various brain areas, these changes corresponding to the intensity and duration of their musical training. Previous studies have focused on investigating musicians with training in Western classical music. However, musicians involved in different musical genres may display highly differentiated auditory profiles according to the demands set by their genre, i.e., varying importance of different musical sound features. This hypothesis was tested in a novel melody paradigm including deviants in tuning, timbre, rhythm, melody transpositions, and melody contour. Using this paradigm while the participants were watching a silent video and instructed to ignore the sounds, we compared classical, jazz, and rock musicians' and non-musicians' accuracy of neural encoding of the melody. In all groups of participants, all deviants elicited an MMN response, which is a cortical index of deviance discrimination. The strength of the MMN and the subsequent attentional P3a responses reflected the importance of various sound features in each music genre: these automatic brain responses were selectively enhanced to deviants in tuning (classical musicians), timing (classical and jazz musicians), transposition (jazz musicians), and melody contour (jazz and rock musicians). Taken together, these results indicate that musicians with different training history have highly specialized cortical reactivity to sounds which violate the neural template for melody content.

  19. Connectivity patterns during music listening: Evidence for action-based processing in musicians.

    Science.gov (United States)

    Alluri, Vinoo; Toiviainen, Petri; Burunat, Iballa; Kliuchko, Marina; Vuust, Peter; Brattico, Elvira

    2017-06-01

    Musical expertise is visible both in the morphology and functionality of the brain. Recent research indicates that functional integration between multi-sensory, somato-motor, default-mode (DMN), and salience (SN) networks of the brain differentiates musicians from non-musicians during resting state. Here, we aimed at determining whether brain networks differentially exchange information in musicians as opposed to non-musicians during naturalistic music listening. Whole-brain graph-theory analyses were performed on participants' fMRI responses. Group-level differences revealed that musicians' primary hubs comprised cerebral and cerebellar sensorimotor regions whereas non-musicians' dominant hubs encompassed DMN-related regions. Community structure analyses of the key hubs revealed greater integration of motor and somatosensory homunculi representing the upper limbs and torso in musicians. Furthermore, musicians who started training at an earlier age exhibited greater centrality in the auditory cortex, and areas related to top-down processes, attention, emotion, somatosensory processing, and non-verbal processing of speech. We here reveal how brain networks organize themselves in a naturalistic music listening situation wherein musicians automatically engage neural networks that are action-based while non-musicians use those that are perception-based to process an incoming auditory stream. Hum Brain Mapp 38:2955-2970, 2017. © 2017 Wiley Periodicals, Inc. © 2017 Wiley Periodicals, Inc.

  20. The sound of music: differentiating musicians using a fast, musical multi-feature mismatch negativity paradigm.

    Science.gov (United States)

    Vuust, Peter; Brattico, Elvira; Seppänen, Miia; Näätänen, Risto; Tervaniemi, Mari

    2012-06-01

    Musicians' skills in auditory processing depend highly on instrument, performance practice, and on level of expertise. Yet, it is not known though whether the style/genre of music might shape auditory processing in the brains of musicians. Here, we aimed at tackling the role of musical style/genre on modulating neural and behavioral responses to changes in musical features. Using a novel, fast and musical sounding multi-feature paradigm, we measured the mismatch negativity (MMN), a pre-attentive brain response, to six types of musical feature change in musicians playing three distinct styles of music (classical, jazz, rock/pop) and in non-musicians. Jazz and classical musicians scored higher in the musical aptitude test than band musicians and non-musicians, especially with regards to tonal abilities. These results were extended by the MMN findings: jazz musicians had larger MMN-amplitude than all other experimental groups across the six different sound features, indicating a greater overall sensitivity to auditory outliers. In particular, we found enhanced processing of pith and sliding up to pitches in jazz musicians only. Furthermore, we observed a more frontal MMN to pitch and location compared to the other deviants in jazz musicians and left lateralization of the MMN to timbre in classical musicians. These findings indicate that the characteristics of the style/genre of music played by musicians influence their perceptual skills and the brain processing of sound features embedded in a musical context. Musicians' brain is hence shaped by the type of training, musical style/genre, and listening experiences. Copyright © 2012 Elsevier Ltd. All rights reserved.

  1. The musician effect: Does it persist under degraded pitch conditions of cochlear implant simulations?

    Directory of Open Access Journals (Sweden)

    Christina eFuller

    2014-06-01

    Full Text Available Cochlear implants (CIs are auditory prostheses that restore hearing via electrical stimulation of the auditory nerve. Compared to normal acoustic hearing, sounds transmitted through the CI are spectro-temporally degraded, causing difficulties in challenging listening tasks such as speech intelligibility in noise and perception of music. In normal hearing (NH, musicians have been shown to better perform than non-musicians in auditory processing and perception, especially for challenging listening tasks. This ‘musician effect’ was attributed to better processing of pitch cues, as well as better overall auditory cognitive functioning in musicians. Does the musician effect persist when pitch cues are degraded, as it would be in signals transmitted through a CI? To answer this question, NH musicians and non-musicians were tested while listening to unprocessed signals or to signals processed by an acoustic CI simulation. The task increasingly depended on pitch perception: 1 speech intelligibility (words and sentences in quiet or in noise, 2 vocal emotion identification, and 3 melodic contour identification. For speech perception, there was no musician effect with the unprocessed stimuli, and a small musician effect only for word identification in one noise condition, in the CI simulation. For emotion identification, there was a small musician effect for both. For melodic contour identification, there was a large musician effect for both. Overall, the effect was stronger as the importance of pitch in the listening task increased. This suggests that the musician effect may be more rooted in pitch perception, rather than in a global advantage in cognitive processing (in which musicians would have performed better in all tasks. The results further suggest that musical training before (and possibly after implantation might offer some advantage in pitch processing that could partially benefit speech perception, and more strongly emotion and music

  2. A Meta-study of musicians' non-verbal interaction

    DEFF Research Database (Denmark)

    Jensen, Karl Kristoffer; Marchetti, Emanuela

    2010-01-01

    Music can be seen as a social skilled practice, since the creation of good music is the result of a group effort. According to current literature, communication through non-verbal cues is an important factor in securing a good performance, since it allows musicians to correct each other without...... the music should be played and the intention to communicate through non-verbal interaction, which allows them to achieve their desire and improve the performance on-the-fly. The BDI model has proven useful in synthesising information and it is believed that this scientific-rational model will bring benefits...... interruptions. Hence, despite the fact that the skill to engage in a non-verbal interaction is described as tacit knowledge, it is fundamental for both musicians and teachers (Davidson and Good 2002). Typical observed non-verbal cues are for example: physical gestures, modulations of sound, steady eye contact...

  3. Brain Plasticity and the Concept of Metaplasticity in Skilled Musicians.

    Science.gov (United States)

    Altenmüller, Eckart; Furuya, Shinichi

    2016-01-01

    Early and extensive musical training provides plastic adaptations of the nervous system and enhanced sensory, motor, and cognitive functions. Over decades, neuronal mechanism underlying the plastic adaptation through musical training has been investigated using neuroimaging and transcranial stimulation techniques. Recently, plastic changes in neuroplastic functions through musical training have gradually gained some interest, so-called metaplasticity. Metaplasticity enables faster and more stable skill acquisition for individuals with a history of prior musical training. This mechanism may also serve for prevention of developing maladaptive changes in the nervous system, being pathophysiology of focal dystonia in musicians. The present chapter introduces neurophysiological mechanisms and functional significances of brain plasticity and metaplasticity of the sensory and motor systems of musicians.

  4. Special performing problems of female musicians: three case studies.

    Science.gov (United States)

    Wörz-Bilfinger, D

    2012-01-01

    Female instrumentalists can encounter serious performing problems because of their physiology that is not regarded as being significant in medical terms, but which nevertheless may seriously hinder or even prevent them from playing their instruments. Music-related medical advice is based on fundamental medical procedures, and includes taking a detailed case history, instrumental biography and, above all, player observation. Three case studies from a medical information center for professional and lay musicians show the importance of gender-specific problems in female musicians: A pianist with "pseudo short-arm syndrome" due to circumference of the abdomen as a result of pregnancy; a violinist with pain in the shoulder girdle due to heavy mammae; and a young oboist with "pseudo breathing- problems" during menstruation.

  5. The sound of music: Differentiating musicians using a fast, musical multi-feature mismatch negativity paradigm

    DEFF Research Database (Denmark)

    Vuust, Peter; Brattico, Elvira; Seppänen, Miia

    2012-01-01

    Musicians' skills in auditory processing depend highly on instrument, performance practice, and on level of expertise. Yet, it is not known though whether the style/genre of music might shape auditory processing in the brains of musicians. Here, we aimed at tackling the role of musical style/genre...... to the other deviants in jazz musicians and left lateralization of the MMN to timbre in classical musicians. These findings indicate that the characteristics of the style/genre of music played by musicians influence their perceptual skills and the brain processing of sound features embedded in a musical...... context. Musicians' brain is hence shaped by the type of training, musical style/genre, and listening experiences....

  6. Hearing of note: an electrophysiologic and psychoacoustic comparison of pitch discrimination between vocal and instrumental musicians.

    Science.gov (United States)

    Nikjeh, Dee A; Lister, Jennifer J; Frisch, Stefan A

    2008-11-01

    Cortical auditory evoked potentials of instrumental musicians suggest that music expertise modifies pitch processing, yet less is known about vocal musicians. Mismatch negativity (MMN) to pitch deviances and difference limen for frequency (DLF) were examined among 61 young adult women, including 20 vocalists, 21 instrumentalists, and 20 nonmusicians. Stimuli were harmonic tone complexes from the mid-female vocal range (C4-G4). MMN was elicited by multideviant paradigm. DLF was obtained by an adaptive psychophysical paradigm. Musicians detected pitch changes earlier and DLFs were 50% smaller than nonmusicians. Both vocal and instrumental musicians possess superior sensory-memory representations for acoustic parameters. Vocal musicians with instrumental training appear to have an auditory neural advantage over instrumental or vocal only musicians. An incidental finding reveals P3a as a sensitive index of music expertise.

  7. Processing of complex auditory patterns in musicians and nonmusicians.

    Directory of Open Access Journals (Sweden)

    Bastiaan Boh

    Full Text Available In the present study we investigated the capacity of the memory store underlying the mismatch negativity (MMN response in musicians and nonmusicians for complex tone patterns. While previous studies have focused either on the kind of information that can be encoded or on the decay of the memory trace over time, we studied capacity in terms of the length of tone sequences, i.e., the number of individual tones that can be fully encoded and maintained. By means of magnetoencephalography (MEG we recorded MMN responses to deviant tones that could occur at any position of standard tone patterns composed of four, six or eight tones during passive, distracted listening. Whereas there was a reliable MMN response to deviant tones in the four-tone pattern in both musicians and nonmusicians, only some individuals showed MMN responses to the longer patterns. This finding of a reliable capacity of the short-term auditory store underlying the MMN response is in line with estimates of a three to five item capacity of the short-term memory trace from behavioural studies, although pitch and contour complexity covaried with sequence length, which might have led to an understatement of the reported capacity. Whereas there was a tendency for an enhancement of the pattern MMN in musicians compared to nonmusicians, a strong advantage for musicians could be shown in an accompanying behavioural task of detecting the deviants while attending to the stimuli for all pattern lengths, indicating that long-term musical training differentially affects the memory capacity of auditory short-term memory for complex tone patterns with and without attention. Also, a left-hemispheric lateralization of MMN responses in the six-tone pattern suggests that additional networks that help structuring the patterns in the temporal domain might be recruited for demanding auditory processing in the pitch domain.

  8. Music without musicians ... but with scientists, technicians and computer companies

    OpenAIRE

    Parolini, Giuditta

    2017-01-01

    Dieser Beitrag ist mit Zustimmung des Rechteinhabers aufgrund einer (DFG geförderten) Allianz- bzw. Nationallizenz frei zugänglich. This publication is with permission of the rights owner freely accessible due to an Alliance licence and a national licence (funded by the DFG, German Research Foundation) respectively. In the early days of music technologies the collaboration between musicians, scientists, technicians and equipment producers was very close. How did this collaboration devel...

  9. Processing of complex auditory patterns in musicians and nonmusicians.

    Science.gov (United States)

    Boh, Bastiaan; Herholz, Sibylle C; Lappe, Claudia; Pantev, Christo

    2011-01-01

    In the present study we investigated the capacity of the memory store underlying the mismatch negativity (MMN) response in musicians and nonmusicians for complex tone patterns. While previous studies have focused either on the kind of information that can be encoded or on the decay of the memory trace over time, we studied capacity in terms of the length of tone sequences, i.e., the number of individual tones that can be fully encoded and maintained. By means of magnetoencephalography (MEG) we recorded MMN responses to deviant tones that could occur at any position of standard tone patterns composed of four, six or eight tones during passive, distracted listening. Whereas there was a reliable MMN response to deviant tones in the four-tone pattern in both musicians and nonmusicians, only some individuals showed MMN responses to the longer patterns. This finding of a reliable capacity of the short-term auditory store underlying the MMN response is in line with estimates of a three to five item capacity of the short-term memory trace from behavioural studies, although pitch and contour complexity covaried with sequence length, which might have led to an understatement of the reported capacity. Whereas there was a tendency for an enhancement of the pattern MMN in musicians compared to nonmusicians, a strong advantage for musicians could be shown in an accompanying behavioural task of detecting the deviants while attending to the stimuli for all pattern lengths, indicating that long-term musical training differentially affects the memory capacity of auditory short-term memory for complex tone patterns with and without attention. Also, a left-hemispheric lateralization of MMN responses in the six-tone pattern suggests that additional networks that help structuring the patterns in the temporal domain might be recruited for demanding auditory processing in the pitch domain.

  10. Survival Strategy of Street Musician in Tampan District Pekanbaru

    OpenAIRE

    ", Nurhamlin; Pardede, Toni

    2016-01-01

    This research carried out in Tampan District, Pekanbaru. This research aims to determine the characteristics and survival strategies of street musician. To obtain the necessary data in this study, the writer collected data to descend directly to the research location and do observation and in-depth interviews. The subjects of this research as many as seven person. Data obtained was processed in the descriptive qualitative analysis form. Technique determination sample of research using inciden...

  11. Evidence for Enhanced Interoceptive Accuracy in Professional Musicians

    OpenAIRE

    Schirmer-Mokwa, Katharina L.; Fard, Pouyan R.; Zamorano, Anna M.; Finkel, Sebastian; Birbaumer, Niels; Kleber, Boris A.

    2015-01-01

    Interoception is defined as the perceptual activity involved in the processing of internal bodily signals. While the ability of internal perception is considered a relatively stable trait, recent data suggest that learning to integrate multisensory information can modulate it. Making music is a uniquely rich multisensory experience that has shown to alter motor, sensory, and multimodal representations in the brain of musicians. We hypothesize that musical training also heightens interoceptive...

  12. Evidence for enhanced interoceptive accuracy in professional musicians

    OpenAIRE

    Katharina eSchirmer-Mokwa; Pouyan Rafiei Fard; Anna Maria Zamorano; Sebastian eFinkel; Niels eBirbaumer; Niels eBirbaumer; Boris Alexander Kleber

    2015-01-01

    Interoception is defined as the perceptual activity involved in the processing of internal bodily signals. While the ability of internal perception is considered a relatively stable trait, recent data suggest that learning to integrate multisensory information can modulate it. Making music is a uniquely rich multisensory experience that has shown to alter motor, sensory, and multimodal representations in the brain of musicians. We hypothesize that musical training also heightens interoceptive...

  13. Bilateral Stereotactic Thalamotomy for Bilateral Musician's Hand Dystonia.

    Science.gov (United States)

    Horisawa, Shiro; Goto, Shinichi; Nakajima, Takeshi; Kawamata, Takakazu; Taira, Takaomi

    2016-08-01

    Focal hand dystonia in musicians, also known as musician's dystonia, is a task-specific movement disorder characterized by unwanted involuntary muscle contractions occurring only when playing a musical instrument. Case 1 was a 50-year-old female professional pianist who underwent staged bilateral ventro-oral (Vo) thalamotomy, with an interval between the first and second surgery of 4 years. The first surgery (right Vo thalamotomy) led to significant improvements in dystonic symptoms without any complications. Pre- and postoperative Tubiana's musician's dystonia scale (TMDS) scores were 2 and 5, respectively. The second surgery (left Vo thalamotomy) also led to significant improvements in dystonic symptoms, with dysarthria and verbal recall disturbance resolving within 3 months. Pre- and postoperative TMDS scores were 2 and 5, respectively. The patient was subsequently able to return to live-stage performances. Case 2 was a 48-year-old male clarinet repair technician who underwent staged bilateral Vo thalamotomy, with an interval between the first and second surgery of 13 months. The first surgery (right Vo thalamotomy) led to dramatic improvements in symptoms without any complications. Pre- and postoperative TMDS scores were 2 and 5, respectively. The second surgery (left Vo thalamotomy) also led to significant improvements in symptoms with transient hypophonia. Pre- and postoperative TMDS scores were 2 and 5, respectively. The patient was subsequently able to return to work without difficulty. The findings in these 2 cases indicate the utility of bilateral stereotactic Vo thalamotomy in the treatment of medically intractable musician's dystonia affecting both hands. Copyright © 2016 Elsevier Inc. All rights reserved.

  14. Biomechanical research on bowed string musicians: a scoping study.

    Science.gov (United States)

    Kelleher, Leila K; Campbell, Kody R; Dickey, James P

    2013-12-01

    Performing arts biomechanics is concerned with quantifying the musculoskeletal demands of artistic tasks. The growing body of related research has prompted this scoping study, solely focused on quantitative research, to summarize the state of the science, identify knowledge gaps, and identify opportunities for future research. To identify, summarize, and categorize quantitative research on the biomechanics of violin, viola, cello, and double bass players, using scoping study methodology. Established scoping study methodology was used to identify and categorize existing research. We identified 74 articles for review. Of these, 34 met our scoping study criteria and were included in this study. Twenty-one of the 34 articles that met the scoping criteria were published since 2000. Investigations using electromyography (16 studies) and kinematics (15 studies) comprise the bulk of the research. Two studies employed force transducers for data collection. Violinists were the most frequently studied musicians (22 studies) and double bass players were the least (1 study). Fewer than half of the studies used solely professional musicians as their subjects (13 studies). This scoping study confirmed that quantitative biomechanical research into bowed string musicians has been performed with increasing frequency and that there are voids in the research, particularly in investigating mechanisms of injury and protective strategies. Currently, arts biomechanics research is largely descriptive in nature. There are few studies that investigate protective strategies, although it is expected that the field will progress to incorporate this type of research.

  15. Improved effectiveness of performance monitoring in amateur instrumental musicians.

    Science.gov (United States)

    Jentzsch, Ines; Mkrtchian, Anahit; Kansal, Nayantara

    2014-01-01

    Here we report a cross-sectional study investigating the influence of instrumental music practice on the ability to monitor for and respond to processing conflicts and performance errors. Behavioural and electrophysiological indicators of response monitoring in amateur musicians with various skill levels were collected using simple conflict tasks. The results show that instrumental musicians are better able than non-musicians to detect conflicts and errors as indicated by systematic increases in the amplitude of the error-related negativity and the N200 with increasing levels of instrumental practice. Also, high levels of musical training were associated with more efficient and less reactive responses after experience of conflicts and errors as indicated by reduced post-error interference and post-conflict processing adjustments. Together, the present findings suggest that playing a musical instrument might improve the ability to monitor our behavior and adjust our responses effectively when needed. As these processes are amongst the first to be affected by cognitive aging, our evidence could promote musical activity as a realistic intervention to slow or even prevent age-related decline in frontal cortex mediated executive functioning. © 2013 Published by Elsevier Ltd.

  16. The Effect of Music on Hearing of String Musicians

    Directory of Open Access Journals (Sweden)

    Parisa Mirhaj

    2006-12-01

    Full Text Available Background and Aim: Hearing sensitivity is so vital for musicians as loud music can cause hearing loss. The aim of this study was to assess hearing sensitivity of musicians in order to determine the effects of music exposure on hearing organ. Materials and Methods: This case-control study was conducted on 15 string musicians with musicianship history of more than 10 years and 15 normal hearing subjects. They all were male and 20-30 years old. TEOAE and DPOAE performed and after otoscopy, immittance and pure tone audiometry in octave frequencies between 250 to 16000 Hz. Results: There is not significant difference between pure tone thresholds of two groups for all frequencies. A significant difference of TEOAE is found between two groups for total response and amplitudes of TEOAE .DPOAE amplitudes are not significantly different between two groups. Conclusion: Musicianship may affect TEOAE amplitudes , but cannot affect results of PTA and DPOAE. Therefore this can be useful to detect cochlear lesions secondary to music exposure and also as a tool in hearing protection program.

  17. Developing identities and attitudes in musicians and classroom music teachers.

    Science.gov (United States)

    Hargreaves, David J; Purves, Ross M; Welch, Graham F; Marshall, Nigel A

    2007-09-01

    The Western classical training of many secondary music specialist teachers may be inappropriate for the demands of the contemporary secondary school classroom, leading to a conflict between their self-concepts as 'musicians' and as 'teachers'. To undertake a short-term longitudinal comparison of the developing identities and the attitudes of a group of intending specialist secondary music teachers, during the transition into their first teaching post, with a group of music students from university and conservatory backgrounds. Twenty-nine trainee music teachers completed Phases 1 and 2 of the study during their final weeks of training and during the second term of their teaching career, and a comparison group of 29 final-year undergraduate music students did so in the first and last terms of their final year. A specially devised composite Musical Careers Questionnaire gathered information in both phases about self-efficacy in music and in teaching, identification with professional groups in these two domains, and attitudes towards important skills for musicians and teachers. A series of ANOVAs comparing the student groups' scores in each of the two phases revealed no significant main effects or interactions for either of the self-efficacy measures, a significant group effect for professional group identification, and some changes in the attitude measures. Although participants' views of their own general effectiveness as teachers and as musicians changed very little over the period of the study, their attitudes towards music teaching and perceptions of the skills required showed some changes.

  18. An evaluation of musician earplugs with college music students.

    Science.gov (United States)

    Chesky, Kris; Pair, Marla; Yoshimura, Eri; Landford, Scott

    2009-01-01

    Musician earplugs are marketed and recommended for use in music settings but no studies have evaluated these products with musicians. This study evaluated the influences of earplugs on college students' perception and abilities to communicate in a musical environment, attitudes of earplugs, comfort over time, and the influence of earplugs on ability to play music. College students (N = 323) were provided with earplugs for use during and following an experimental condition designed to mimic a night club. Results underline the challenges of earplugs in environments that are both loud and require verbal interaction. Responses to comfort questions were variable and suggest a multi-factorial set of influences that may include intrinsic variables. Despite these limitations, subjects in this study generally liked the earplugs and believed that they are valuable. However, the earplugs were not viewed favorably by musicians willing to use the earplugs while playing music. This study supports the view that earplugs are subject to many problems and should be considered as a last resort.

  19. Neurosyphilis in Anglo-American Composers and Jazz Musicians.

    Science.gov (United States)

    Breitenfeld, Darko; Kust, Davor; Breitenfeld, Tomislav; Prpić, Marin; Lucijanić, Marko; Zibar, Davor; Hostić, Vedran; Franceschi, Maja; Bolanča, Ante

    2017-09-01

    Syphilis is a sexually transmitted, systemic disease caused by the spirochete bacterium Treponema pallidum. The most common mechanism of transmission is sexual intercourse. Although there are several hypotheses, the exact origin of the disease remains unknown. Newly published evidence suggests that the hypothesis supporting the theory of the American origin of the disease is the valid one. Among 1500 analyzed pathographies of composers and musicians, data on ten Anglo-American composers and jazz musicians having suffered from neurosyphilis (tertiary stage of the disease) were extracted for this report. In this group of Anglo-American composers and musicians, most of them died from progressive paralysis while still in the creative phase of life. Additionally, diagnoses of eleven other famous neurosyphilitic composers, as well as basic biographic data on ten less known composers that died from neurosyphilis-progressive paralysis are also briefly mentioned. In conclusion, neurosyphilis can cause serious neurological damage, as well as permanent disability or death, preventing further work and skill improvement.

  20. Performing, Representing, and Archiving Belief: Religious Expressions among Jazz Musicians

    Directory of Open Access Journals (Sweden)

    Vaughn A. Booker

    2016-08-01

    Full Text Available The archives of African American jazz musicians demonstrate rich sites for studying expressions of religious belief and daily religious practice in public and private arenas, in professional and personal capacities. Highlighting print material from the archives of Edward Kennedy “Duke” Ellington (1899–1974 and Mary Lou Williams (1910–1981, this article examines the ways that these musicians worked to articulate their beliefs in print and to make meaning of their routine practices. Ellington and Williams produced written records of their aspirations for non-clerical religious authority and leadership, novel notions of religious community, and conceptions of quotidian writing tasks as practices with devotional value in the middle decades of the twentieth century. In preparation for his Sacred Concert tours of American and Western European religious congregations, Ellington theologized about the nature of God and the proper language to address God through private hotel stationery. Following her conversion to Roman Catholicism, Williams managed a Harlem thrift shop and worked to create the Bel Canto Foundation for musicians struggling with substance abuse and unemployment. This study of the religious subjectivity of African Americans with status as race representatives employs archival historical methods in the effort to vividly approximate complex religious interiority.

  1. Italian musicians in Greece during the nineteenth century

    Directory of Open Access Journals (Sweden)

    Romanou Ekaterini

    2003-01-01

    Full Text Available In Greece, the monophonic chant of the Orthodox church and its neumatic notation have been transmitted as a popular tradition up to the first decades of the 20th century. The transformation of Greek musical tradition to a Western type of urban culture and the introduction of harmony, staff notation and western instruments and performance practices in the country began in the 19th century. Italian musicians played a central role in that process. A large number of them lived and worked on the Ionian Islands. Those Italian musicians have left a considerable number of transcriptions and original compositions. Quite a different cultural background existed in Athens. Education was in most cases connected to the church - the institution that during the four centuries of Turkish occupation kept Greeks united and nationally conscious. The neumatic notation was used for all music sung by the people, music of both western and eastern origin. The assimilation of staff notation and harmony was accelerated in the last quarter of the 19th century. At the beginning of the 20th century in Athens a violent cultural clash was provoked by the reformers of music education all of them belonging to German culture. The clash ended with the displacement of the Italian and Greek musicians from the Ionian Islands working at the time in Athens, and the defamation of their fundamental work in music education.

  2. Differential adaptation of descending motor tracts in musicians.

    Science.gov (United States)

    Rüber, Theodor; Lindenberg, Robert; Schlaug, Gottfried

    2015-06-01

    Between-group comparisons of musicians and nonmusicians have revealed structural brain differences and also functional differences in motor performance. In this study, we aimed to examine the relation between white matter microstructure and high-level motor skills by contrasting 2 groups of musicians with different instrument-specific motor requirements. We used diffusion tensor imaging to compare diffusivity measures of different corticospinal motor tracts of 10 keyboard players, 10 string players, and 10 nonmusicians. Additionally, the maximal tapping rates of their left and right index fingers were determined. When compared with nonmusicians, fractional anisotropy (FA) values of right-hemispheric motor tracts were significantly higher in both musician groups, whereas left-hemispheric motor tracts showed significantly higher FA values only in the keyboard players. Voxel-wise FA analysis found a group effect in white matter underlying the right motor cortex. Diffusivity measures of fibers originating in the primary motor cortex correlated with the maximal tapping rate of the contralateral index finger across all groups. The observed between-group diffusivity differences might represent an adaptation to the specific motor demands of the respective musical instrument. This is supported further by finding correlations between diffusivity measures and maximal tapping rates. © The Author 2013. Published by Oxford University Press. All rights reserved. For Permissions, please e-mail: journals.permissions@oup.com.

  3. Relationship between neck muscles functions and hand muscles strenght in musicians

    OpenAIRE

    Vaina, Mindaugas

    2016-01-01

    Relationship Between Neck Muscles Functions and Hand Muscles Strenght in Musicians The aim of research work: to determine the relationship between musicians hand muscle strength, fatigue and neck strength, endurance and movement amplitude. Tasks of work: 1. To evaluate and compare the musicians playing with string and wind instruments neck muscle strength, endurance, range of motion, hand muscle strength and fatigue between the groups as well as commonly used standards. 2. To determine the re...

  4. Diffusion tensor and volumetric magnetic resonance imaging findings in the brains of professional musicians.

    Science.gov (United States)

    Acer, Niyazi; Bastepe-Gray, Serap; Sagiroglu, Ayse; Gumus, Kazim Z; Degirmencioglu, Levent; Zararsiz, Gokmen; Ozic, Muhammet Usame

    2018-03-01

    Professional musicians represent an ideal model to study the training-induced brain plasticity. The current study aimed to investigate the brain volume and diffusion characteristics of musicians using structural magnetic resonance and diffusion tensor imaging (DTI). The combined use of volumetric and diffusion methods in studying musician brain has not been done in literature. Our study group consisted of seven male musicians playing an instrument and seven age- and gender-matched non-musicians. We evaluated the volumes of gray matter (GM), white matter (WM), and cerebrospinal fluid (CSF) and calculated total intracranial volume (TIV) and measured the fractional anisotropy (FA) of pre-selected WM bundles: corpus callosum (CC), corticospinal tract (CST), superior longitudinal fasciculus (SLF), forceps major (ForMaj), forceps minor (ForMin), and arcuate fasciculus (AF). The mean WM/TIV volume in musicians was higher compared to non-musicians. The mean FA was lower in CC, SLF, ForMaj, ForMin, and right AF but higher in right CST in the musicians. The mean value of the total number of fibers was larger in the CST, SLF, left AF, and ForMaj in the musicians. The observed differences were not statistically significant between the groups (p>0.05). However, increased GM volume was found in the musicians compared to the non-musicians in the right and left cerebellum and supramarginal and angular gyrus, left superior and inferior parietal lobule and as well as left middle temporal gyrus. Our findings suggest differing brain structure in musicians and the confirmation of the results on a larger population. Copyright © 2017 Elsevier B.V. All rights reserved.

  5. Diminished whole-brain but enhanced peri-sylvian connectivity in absolute pitch musicians.

    Science.gov (United States)

    Jäncke, Lutz; Langer, Nicolas; Hänggi, Jürgen

    2012-06-01

    Several anatomical studies have identified specific anatomical features within the peri-sylvian brain system of absolute pitch (AP) musicians. In this study we used graph theoretical analysis of cortical thickness covariations (as indirect indicator of connectivity) to examine whether AP musicians differ from relative pitch musicians and nonmusicians in small-world network characteristics. We measured "local connectedness" (local clustering = γ), "global efficiency of information transfer" (path length = λ), "small-worldness" (σ = γ/λ), and "degree" centrality as measures of connectivity. Although all groups demonstrated typical small-world features, AP musicians showed significant small-world alterations. "Degree" as a measure of interconnectedness was globally significantly decreased in AP musicians. These differences let us suggest that AP musicians demonstrate diminished neural integration (less connections) among distant brain regions. In addition, AP musicians demonstrated significantly increased local connectivity in peri-sylvian language areas of which the planum temporale, planum polare, Heschl's gyrus, lateral aspect of the superior temporal gyrus, STS, pars triangularis, and pars opercularis were hub regions. All of these brain areas are known to be involved in higher-order auditory processing, working or semantic memory processes. Taken together, whereas AP musicians demonstrate decreased global interconnectedness, the local connectedness in peri-sylvian brain areas is significantly higher than for relative pitch musicians and nonmusicians.

  6. Functional connectivity of the cortical network supporting statistical learning in musicians and non-musicians: an MEG study.

    Science.gov (United States)

    Paraskevopoulos, Evangelos; Chalas, Nikolas; Bamidis, Panagiotis

    2017-11-24

    Statistical learning is a cognitive process of great importance for the detection and representation of environmental regularities. Complex cognitive processes such as statistical learning usually emerge as a result of the activation of widespread cortical areas functioning in dynamic networks. The present study investigated the cortical large-scale network supporting statistical learning of tone sequences in humans. The reorganization of this network related to musical expertise was assessed via a cross-sectional comparison of a group of musicians to a group of non-musicians. The cortical responses to a statistical learning paradigm incorporating an oddball approach were measured via Magnetoencephalographic (MEG) recordings. Large-scale connectivity of the cortical activity was calculated via a statistical comparison of the estimated transfer entropy in the sources' activity. Results revealed the functional architecture of the network supporting the processing of statistical learning, highlighting the prominent role of informational processing pathways that bilaterally connect superior temporal and intraparietal sources with the left IFG. Musical expertise is related to extensive reorganization of this network, as the group of musicians showed a network comprising of more widespread and distributed cortical areas as well as enhanced global efficiency and increased contribution of additional temporal and frontal sources in the information processing pathway.

  7. Enhanced speech perception in noise and cortical auditory evoked potentials in professional musicians.

    Science.gov (United States)

    Meha-Bettison, Kiriana; Sharma, Mridula; Ibrahim, Ronny K; Mandikal Vasuki, Pragati Rao

    2018-01-01

    The current research investigated whether professional musicians outperformed non-musicians on auditory processing and speech-in-noise perception as assessed using behavioural and electrophysiological tasks. Spectro-temporal processing skills were assessed using a psychoacoustic test battery. Speech-in-noise perception was measured using the Listening in Spatialised Noise - Sentences (LiSN-S) test and Cortical Auditory Evoked Potentials (CAEPs) recorded to the speech syllable/da/presented in quiet and in 8-talker babble noise at 0, 5, and 10 dB signal-to-noise ratios (SNRs). Ten professional musicians and 10 non-musicians participated in this study. Musicians significantly outperformed non-musicians in the frequency discrimination task and low-cue condition of the LiSN-S test. Musicians' N1 amplitude showed no difference between 5 dB and 0 dB SNR conditions while non-musicians showed significantly lower N1 amplitude at 0 dB SNR compared to 5 dB SNR. Brain-behaviour correlation for musicians showed a significant association between CAEPs at 5 dB SNR and the low-cue condition of the LiSN-S test at 30-70 ms. Time-frequency analysis indicated musicians had significantly higher alpha power desynchronisation in the 0 dB SNR condition indicating involvement of attention. Through the use of behavioural and electrophysiological data, the results provide converging evidence for improved speech recognition in noise in musicians.

  8. Exploring the thoughts and focus of attention of elite musicians under pressure

    NARCIS (Netherlands)

    Buma, L.A.; Bakker, F.C.; Oudejans, R.R.D.

    2015-01-01

    Although musicians often have to perform under high pressure, there is little systematic research into the foci of attention needed to maintain performance in such situations. In the current study, we asked elite musicians to report what they focus on and think about during moments of high pressure,

  9. Spatial vision is superior in musicians when memory plays a role.

    Science.gov (United States)

    Weiss, Atalia H; Biron, Tali; Lieder, Itay; Granot, Roni Y; Ahissar, Merav

    2014-08-21

    Musicians' perceptual advantage in the acoustic domain is well established. Recent studies show that musicians' verbal working memory is also superior. Additionally, some studies report that musicians' visuospatial skills are enhanced although others failed to find this enhancement. We now examined whether musicians' spatial vision is superior, and if so, whether this superiority reflects refined visual skills or a general superiority of working memory. We examined spatial frequency discrimination among musicians and nonmusician university students using two presentation conditions: simultaneous (spatial forced choice) and sequential (temporal forced choice). Musicians' performance was similar to that of nonmusicians in the simultaneous condition. However, their performance in the sequential condition was superior, suggesting an advantage only when stimuli need to be retained, i.e., working memory. Moreover, the two groups showed a different pattern of correlations: Musicians' visual thresholds were correlated, and neither was correlated with their verbal memory. By contrast, among nonmusicians, the visual thresholds were not correlated, but sequential thresholds were correlated with verbal memory scores, suggesting that a general working memory component limits their performance in this condition. We propose that musicians' superiority in spatial frequency discrimination reflects an advantage in a domain-general aspect of working memory rather than a general enhancement in spatial-visual skills. © 2014 ARVO.

  10. Examining the Political: Materiality, Ideology and Power in the Lives of Professional Musicians

    Science.gov (United States)

    Vaugeois, Lise

    2007-01-01

    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…

  11. Learning Not to Listen: The Experiences of Musicians with Hearing Impairments

    Science.gov (United States)

    Fulford, Robert; Ginsborg, Jane; Goldbart, Juliet

    2011-01-01

    The journey from playful musical exploration in childhood to an adult identity as a skilled musician is likely to be problematic for people with hearing impairments. Although a number of subjective accounts have been published, there is a lack of empirical research in the area. In this study, twelve musicians with hearing impairments were…

  12. Auditory profiles of classical, jazz, and rock musicians: Genre-specific sensitivity to musical sound features

    Directory of Open Access Journals (Sweden)

    Mari eTervaniemi

    2016-01-01

    Full Text Available When compared with individuals without explicit training in music, adult musicians have facilitated neural functions in several modalities. They also display structural changes in various brain areas, these changes corresponding to the intensity and duration of their musical training. Previous studies have focused on investigating musicians with training in Western classical music. However, musicians involved in different musical genres may display highly differentiated auditory profiles according to the demands set by their genre, i.e. varying importance of different musical sound features. This hypothesis was tested in a novel melody paradigm including deviants in tuning, timbre, rhythm, melody transpositions, and melody contour. Using this paradigm while the participants were watching a silent video and instructed to ignore the sounds, we compared classical, jazz, and rock musicians’ and non-musicians’ accuracy of neural encoding of the melody. In all groups of participants, all deviants elicited an MMN response, which is a cortical index of deviance discrimination. The strength of the MMN and the subsequent attentional P3a responses reflected the importance of various sound features in each music genre: these automatic brain responses were selectively enhanced to deviants in tuning (classical musicians, timing (classical and jazz musicians, transposition (jazz musicians, and melody contour (jazz and rock musicians. Taken together, these results indicate that musicians with different training history have highly specialized cortical reactivity to sounds which violate the neural template for melody content.

  13. Visually Impaired Musicians' Insights: Narratives of Childhood, Lifelong Learning and Musical Participation

    Science.gov (United States)

    Baker, David

    2014-01-01

    With the support of the Royal National Institute of Blind People (RNIB), the life histories of five visually impaired (VI) musicians were collected and analysed between November 2011 and August 2012. This research was conducted as a pilot for a two-year, national investigation of VI musical participation, "Visually-impaired musicians'…

  14. Affirmation, Validation, and Empowerment: Influences of a Composition Competition on Students' Self-Concepts as Musicians

    Science.gov (United States)

    Albert, Daniel J.

    2017-01-01

    The purpose of this study was to determine if participation in a composition competition influenced four K-12 students' self-concepts as musicians. Research questions explored motivations for these four students to enter into a composition competition, influences of the competition on students' self-concepts as musicians (if at all), and effects…

  15. The Influence of Body Mapping on Student Musicians' Performance Experiences

    Science.gov (United States)

    Buchanan, Heather J.; Hays, Terrence

    2014-01-01

    This qualitative study examines student musicians' perceptions of their performance and development resulting from Body Mapping (BMG) technique. BMG is a somatic (mind-body) education technique designed to teach musicians skills in self-evaluation and change for performing with sensory-motor integrity. A qualitative study guided by an…

  16. Musicians as Teachers: Developing a Positive View through Collaborative Learning Partnerships

    Science.gov (United States)

    Bennett, Dawn; Stanberg, Andrea

    2006-01-01

    Previous research with classical instrumental musicians has highlighted the intrinsic benefits of teaching in addition to the perhaps more obvious benefits of securing a regular income. Yet, despite the presence of educational activities in the portfolio of most musicians, teaching remains on the periphery of many music performance programmes in…

  17. Error management for musicians: an interdisciplinary conceptual framework

    Directory of Open Access Journals (Sweden)

    Silke eKruse-Weber

    2014-07-01

    Full Text Available Musicians tend to strive for flawless performance and perfection, avoiding errors at all costs. Dealing with errors while practicing or performing is often frustrating and can lead to anger and despair, which can explain musicians’ generally negative attitude toward errors and the tendency to aim for errorless learning in instrumental music education. But even the best performances are rarely error-free, and research in general pedagogy and psychology has shown that errors provide useful information for the learning process. Research in instrumental pedagogy is still neglecting error issues; the benefits of risk management (before the error and error management (during and after the error are still underestimated. It follows that dealing with errors is a key aspect of music practice at home, teaching, and performance in public. And yet, to be innovative, or to make their performance extraordinary, musicians need to risk errors. Currently, most music students only acquire the ability to manage errors implicitly - or not at all. A more constructive, creative and differentiated culture of errors would balance error tolerance and risk-taking against error prevention in ways that enhance music practice and music performance. The teaching environment should lay the foundation for the development of these abilities. In this contribution, we survey recent research in aviation, medicine, economics, psychology, and interdisciplinary decision theory that has demonstrated that specific error-management training can promote metacognitive skills that lead to better adaptive transfer and better performance skills. We summarize how this research can be applied to music, and survey relevant research that is specifically tailored to the needs of musicians, including generic guidelines for risk and error management in music teaching and performance. On this basis, we develop a conceptual framework for risk management that can provide orientation for further

  18. [AN OVERALL SOUND PROCESS] Altered Dynamics and Instrumentation at the Onset of Recapitulation in the Nineteenth-Century Symphony

    Directory of Open Access Journals (Sweden)

    Steven Craig Cannon

    2016-01-01

    Full Text Available In standard sonata form, the onset of recapitulation exactly quotes the beginning of the exposition, preserving both “structural” parameters (melody, rhythm, harmony, key, as well as “secondary” ones (dynamics, instrumentation, register, tempo. In practice, however, composers may alter any aspect of the main theme upon its return. Most analysis of such recapitulatory alteration has focused on structural change, with other parameters receiving relatively little attention. This paper examines composers’ handling of two secondary parameters—dynamic markings and instrumental density—at the beginnings of recapitulations in the nineteenth-century symphonic repertoire. In order to analyse a large number of works, a system of classifications for recapitulatory alterations is necessary. The alterations fall into four broad types: “similar” recapitulations have few or no changes to dynamics and instrumentation, “intensified” recapitulations are louder or more fully orchestrated than the beginning of the exposition, “attenuated” recapitulations have quieter dynamics or sparser orchestration, and “contradictory” recapitulations have alterations to dynamics and instrumentation that work in opposite directions. After explaining this classification system in detail, with examples from specific symphonies, the paper then gives the results of an analytical survey of 483 sonata-form movements from 282 symphonies dating from the years 1800 to 1899. Similar and intensified recapitulations are most common, with preferences changing over time. Until about the 1840s, similar recapitulations were most common, but from around the 1860s on, intensified returns became the default choice. Attenuated and contradictory recapitulations, by contrast, are very rare throughout the century.

  19. Context effects on pitch perception in musicians and nonmusicians

    DEFF Research Database (Denmark)

    Brattico, E; Naatanen, R; Tervaniemi, M

    2001-01-01

    Behavioral evidence indicates that musical context facilitates pitch discrimination. In the present study, we sought to determine whether pitch context and its familiarity might affect brain responses to pitch change even at the preattentive level. Ten musicians and 10 nonmusicians, while...... concentrating on reading a book, were presented with sound stimuli that had an infrequent (p = 15 %) pitch shift of 144 Hz. In the familiar condition, the infrequent third-position deviant changed the mode (major vs. minor) of the five-tone pattern. In the unfamiliar condition, patterns were formed from five...

  20. Epidemiology and treatment of 23 musicians with task specific tremor.

    Science.gov (United States)

    Lee, André; Furuya, Shinichi; Altenmüller, Eckart

    2014-01-01

    Task specific tremors in musicians have been mainly described as primary bowing tremor in string instrumentalists in relatively small sample sizes. Our aim was to describe epidemiology, risk factors, phenomenology and treatment options of this disorder in 23 musicians of different instruments. We included 23 professional musicians (4 female, 19 male; mean age 51.5 ± 11.4 years) with a TSTM. During anamnesis, clinical examination, by mail or via telephone patients were asked for epidemiological, phenomenological information, risk factors and treatments. We then compared our findings to primary writing tremor, the most common task specific tremor. Age at onset of the TST was 44.6 ± 13.6 years and tremor appeared 35.1 ± 13.5 years after beginning to play the instrument. The majority of patients were string instrumentalists, followed by woodwind instrumentalists. Other instrumentalists were a guitarist, pianist and percussionist respectively. In contrast to primary writing tremor, we also found proximal muscles of the upper extremity involved in tremor. A positive family history was found in Prior trauma was more common than in primary writing tremor. Treatment with a positive effect on tremor were in order of efficacy: Botulinumtoxin, Primidone, Propranolol, Trihexyphenidyl. No patient had undergone deep brain stimulation. Task specific tremor in musicians is a heterogeneous disorder with a male gender predominance that shares many commonalities with PWT. The onset age as well as the time between starting to play the instrument and tremor onset has a wide range. Because previous trauma and overuse appear to be risk factors, preventive measures against playing related injuries are necessary. There appears to be a genetic predisposition for TST. No single beneficial medication exists and treatment of patients remains highly individual. It should be discussed, whether deep brain stimulation should be offered not only to patients that do not respond to

  1. Sound experiences: the vision of experimental musician on the folkloric music in modern society

    Directory of Open Access Journals (Sweden)

    Rieko Tanaka

    2016-11-01

    Full Text Available This work begins narrating how folk music has always been a remnant in the influence on classical composers. It makes special mention of origin Hungarian musicians Bela Bartok, Zoltan Kodaly. This Musicians are considerate in this work as the most immediate ancestors of an experimental musicians northamericans, because both are influenced by their passion for folk music. We select as musicians principals exponents of American experimental music to John Cage, Lou Harrison and Carl Ruggles. Their works will be considered and analyzed in this text as the sounds as the experiences. Composers that will analyze the sound as experience, as feeling, as emotion, as time and origin. related traits in folk music and experimental music. Not forgetting in this work, and in his final considerations, the relationship between the musician, creation, society and art.

  2. Forty lives in the bebop business: mental health in a group of eminent jazz musicians.

    Science.gov (United States)

    Wills, Geoffrey I

    2003-09-01

    Above-average levels of psychopathology have been demonstrated convincingly in groups of outstanding individuals working in the arts. Currently, jazz musicians have not been studied in this regard. To investigate any evidence of psychopathology in a group of eminent jazz musicians. Biographical material relating to 40 eminent American modern jazz musicians was reviewed and an attempt was made to formulate diagnoses using DSM-IV. Evidence was provided of levels of psychopathology in the sample of jazz musicians similar to those found in other previously investigated creative groups, with the exception of substance related problems. An interesting connection between creativity and sensation-seeking was highlighted. The link between psychopathology and creativity in the arts was given further weight. Future studies of jazz musicians using larger samples and making comparison with groups from different eras of music would give greater clarification to this area.

  3. Muusikamaailm : Dresdeni festival pühendub Hispaaniale. Händeli festival Göttingenis. Siemensi preemia Arditti kvartetile. Metropolitan Opera Orchestra Euroopas. Haydni festival Inglismaal / Priit Kuusk

    Index Scriptorium Estoniae

    Kuusk, Priit, 1938-

    1999-01-01

    21.05-6.06 toimuvast Dresdeni muusikafestivalist. Händelipidustuste tippsündmuseks on helilooja harvaesitatava ooperi "Arianna in Creta" ettekanne. Ernst von Siemensi Fondi tänavuse preemia pälvis Arditti Quartet. Metropolitan Opera Orchestra Euroopa-ringreisist. 7.juunini kestvatest Haydni pidustustest Shropshire"is

  4. Instrument specific use-dependent plasticity shapes the anatomical properties of the corpus callosum: a comparison between musicians and non-musicians.

    Science.gov (United States)

    Vollmann, Henning; Ragert, Patrick; Conde, Virginia; Villringer, Arno; Classen, Joseph; Witte, Otto W; Steele, Christopher J

    2014-01-01

    Long-term musical expertise has been shown to be associated with a number of functional and structural brain changes, making it an attractive model for investigating use-dependent plasticity in humans. Physiological interhemispheric inhibition (IHI) as examined by transcranial magnetic stimulation has been shown to be correlated with anatomical properties of the corpus callosum as indexed by fractional anisotropy (FA). However, whether or not IHI or the relationship between IHI and FA in the corpus callosum can be modified by different musical training regimes remains largely unknown. We investigated this question in musicians with different requirements for bimanual finger movements (piano and string players) and non-expert controls. IHI values were generally higher in musicians, but differed significantly from non-musicians only in string players. IHI was correlated with FA in the posterior midbody of the corpus callosum across all participants. Interestingly, subsequent analyses revealed that this relationship may indeed be modulated by different musical training regimes. Crucially, while string players had greater IHI than non-musicians and showed a positive structure-function relationship, the amount of IHI in pianists was comparable to that of non-musicians and there was no significant structure-function relationship. Our findings indicate instrument specific use-dependent plasticity in both functional (IHI) and structural (FA) connectivity of motor related brain regions in musicians.

  5. Instrument specific use-dependent plasticity shapes the anatomical properties of the corpus callosum: A comparison between musicians and non-musicians

    Directory of Open Access Journals (Sweden)

    Henning eVollmann

    2014-07-01

    Full Text Available Long-term musical expertise has been shown to be associated with a number of functional and structural brain changes, making it an attractive model for investigating use-dependent plasticity in humans. Physiological interhemispheric inhibition (IHI as examined by transcranial magnetic stimulation has been shown to be correlated with anatomical properties of the corpus callosum as indexed by fractional anisotropy (FA. However, whether or not IHI or the relationship between IHI and FA in the corpus callosum can be modified by different musical training regimes remains largely unknown. We investigated this question in musicians with different requirements for bimanual finger movements (piano and string players and non-expert controls. IHI values were generally higher in musicians, but differed significantly from non-musicians only in string players. IHI was correlated with FA in the posterior midbody of the corpus callosum across all participants. Interestingly, subsequent analyses revealed that this relationship may indeed be modulated by different musical training regimes. Crucially, while string players had greater IHI than non-musicians and showed a positive structure-function relationship, the amount of IHI in pianists was comparable to that of non-musicians and there was no significant structure-function relationship. Our findings indicate instrument specific use-dependent plasticity in both functional (IHI and structural (FA connectivity of motor related brain regions in musicians.

  6. Cortical and subcortical processing of short duration speech stimuli in trained rock musicians: a pilot study.

    Science.gov (United States)

    Kumar, Prawin; Anil, Sam Publius; Grover, Vibhu; Sanju, Himanshu Kumar; Sinha, Sachchidanand

    2017-02-01

    Most trained musicians are actively involved in rigorous practice from several years to achieve a high level of proficiency. Therefore, musicians are best group to research changes or modification in brain structures and functions across several information processing systems. This study aimed to investigate cortical and subcortical processing of short duration speech stimuli in trained rock musicians and non-musicians. Two groups of participant (experimental and control groups) in the age range of 18-25 years were selected for the study. Experimental group includes 15 rock musicians who had minimum professional training of 5 years of rock music, and each member had to be a regular performer of rock music for at least 15 h a week. Further age-matched 15 participants who were not having any formal training of any music served as non-musicians, in the control group. The speech-evoked ABR (S-ABR) and speech-evoked ALLR (S-LLR) with short duration speech 'synthetic /da/' was elicited in both groups. Different measures were analyzed for S-ABR and S-LLR. For S-ABR, MANOVA revealed significant main effect of groups on latencies of wave V, wave A, and amplitude of wave V/A slope. Similarly, Kruskal-Wallis test showed significantly higher F 0 amplitude in rock musicians compared with non-musicians. For S-LLR, MANOVA showed statistically significant differences observed for latencies of wave P2 and N2 and amplitude measures of P2-N2 amplitude. This study indicated better neural processing of short duration speech stimuli at subcortical as well as cortical level among rock musicians when compared with non-musicians.

  7. Musicians do not benefit from differences in fundamental frequency when listening to speech in competing speech backgrounds

    DEFF Research Database (Denmark)

    Madsen, Sara Miay Kim; Whiteford, Kelly L.; Oxenham, Andrew J.

    2017-01-01

    Recent studies disagree on whether musicians have an advantage over non-musicians in understanding speech in noise. However, it has been suggested that musicians may be able to use diferences in fundamental frequency (F0) to better understand target speech in the presence of interfering talkers....... Here we studied a relatively large (N=60) cohort of young adults, equally divided between nonmusicians and highly trained musicians, to test whether the musicians were better able to understand speech either in noise or in a two-talker competing speech masker. The target speech and competing speech...... that musical training leads to improved speech intelligibility in complex speech or noise backgrounds....

  8. Music performance anxiety in young musicians: comparison of playing classical or popular music.

    Science.gov (United States)

    Nusseck, Manfred; Zander, Mark; Spahn, Claudia

    2015-03-01

    Music performance anxiety (MPA) is an issue frequently experienced by musicians. It occurs not only in experienced musicians but also in children and adolescents. Furthermore, most research on MPA has been done with musicians who specialized in classical music. This study investigated the development of MPA across the ages in young musicians focusing on the classical and popular genres. In a cross-sectional survey, 239 students at German music schools, aged between 7 and 20 yrs, were asked about their perceived MPA and musical background. The data were analyzed according to musical genre and age. Multiple regression analyses were performed to investigate the influences of musical experiences on MPA. The analyses yielded high levels of MPA for classical musicians between 7 and 16 yrs, which was reduced in older students; for popular musicians, low MPA was seen in the younger (7-11 yrs) and high MPA in the older (16+ yrs) musicians. MPA was influenced by gender and the number of performances in the classical music group and only by gender and age in the popular music group. The results showed clear different trends for the development of MPA between musical genres that should be taken into account for educational aspects in musical training.

  9. Temporal processing of audiovisual stimuli is enhanced in musicians: evidence from magnetoencephalography (MEG.

    Directory of Open Access Journals (Sweden)

    Yao Lu

    Full Text Available Numerous studies have demonstrated that the structural and functional differences between professional musicians and non-musicians are not only found within a single modality, but also with regard to multisensory integration. In this study we have combined psychophysical with neurophysiological measurements investigating the processing of non-musical, synchronous or various levels of asynchronous audiovisual events. We hypothesize that long-term multisensory experience alters temporal audiovisual processing already at a non-musical stage. Behaviorally, musicians scored significantly better than non-musicians in judging whether the auditory and visual stimuli were synchronous or asynchronous. At the neural level, the statistical analysis for the audiovisual asynchronous response revealed three clusters of activations including the ACC and the SFG and two bilaterally located activations in IFG and STG in both groups. Musicians, in comparison to the non-musicians, responded to synchronous audiovisual events with enhanced neuronal activity in a broad left posterior temporal region that covers the STG, the insula and the Postcentral Gyrus. Musicians also showed significantly greater activation in the left Cerebellum, when confronted with an audiovisual asynchrony. Taken together, our MEG results form a strong indication that long-term musical training alters the basic audiovisual temporal processing already in an early stage (direct after the auditory N1 wave, while the psychophysical results indicate that musical training may also provide behavioral benefits in the accuracy of the estimates regarding the timing of audiovisual events.

  10. Prototype system to recommend appropriate amount of independent musicians who matched user's preference

    OpenAIRE

    Uetake, Tomofumi; Kiyohara, Seiya

    2006-01-01

    Recently we can easily get music information at home. Furthermore, by using ''independent music community site''on lnternet, we can easily get songs of independent musicians. However, it is very difficult for us to look for the musician who matched one's preference. Because there is a great deal of number of the musicians, and a genre of a song is various. In this paper, We analyze the independent community music site in Japan and clarify the characteristics of the information about registere...

  11. Schostakowitsch: Fünf Ballettsuiten, Suite aus Katerina Ismailova, Festliche Ouvertüre op. 96. Royal Scottisch National Orchestra, Neeme Järvi / Helge Grünewald

    Index Scriptorium Estoniae

    Grünewald, Helge

    1995-01-01

    Uuest heliplaadist "Schostakowitsch: Fünf Ballettsuiten, Suite aus Katerina Ismailova, Festliche Ouvertüre op. 96. Royal Scottisch National Orchestra, Neeme Järvi. Chandos/Koch 2 CD 700/1 (WD:114'36")

  12. The correspondence between Miodrag Vasiljević and Bulgarian Musicians

    Directory of Open Access Journals (Sweden)

    Jovanović Jelena L.

    2002-01-01

    Full Text Available The Serbian ethnomusicologist and music pedagogue Miodrag A. Vasiljević corresponded with colleagues from neighboring Bulgaria between 1934 and 1962. This exchange of letters went through three phases. The first phase was linked with his stay in Skopje until the breakout of World War II; during the second phase - in the course of the 1940's - he was active in the Department for Folk Music at Radio Belgrade and he founded his method of music teaching on traditional Serbian music; in the third phase (the 1950's and beginning of 1960's Vasiljević aimed at a closer cooperation with Bulgarian musicians. All the phases are characterized by his pronounced interest in the folk music heritage of Balkan peoples. At the beginning that interest was focused on popularizing art music that was based on folk music. Later, he enthusiastically carried out his reforms of music teaching in Serbia, as well as improvements of methods in Serbian ethnomusicology.

  13. Neurological problems of famous musicians: the classical genre.

    Science.gov (United States)

    Newmark, Jonathan

    2009-08-01

    Neurological histories of great musicians allow for a unique perspective on music physiology. Bedrich Smetana's autobiographical string quartet ends with the musical equivalent of tinnitus in the fourth movement, rendering the youthful and passionate themes of earlier movements moot as the piece ends depicting his ultimately fatal disease, neurosyphilis. Dmitri Shostakovich survived the censorship of Joseph Stalin's apparatchiks but suffered a prolonged form of paralysis attributable to slowly progressive motor neuron disease, although the viola sonata he wrote on his deathbed has become standard repertoire. Glenn Gould was a hypochondriacal pianist with obsessive-compulsive disorder and suspected Asperger syndrome. Vissarion Shebalin and (Ira) Randall Thompson had strokes followed by aphasia without amusia. Domenico Scarlatti provides an example of how even great composers must alter their technical expectations depending upon the skills and body habitus of their chief patrons. The focal dystonia afflicting Leon Fleisher and Gary Graffman catalyzed the discipline of performing arts medicine.

  14. Trigger point treatment with radial shock waves in musicians with nonspecific shoulder-neck pain: data from a special physio outpatient clinic for musicians.

    Science.gov (United States)

    Damian, Malika; Zalpour, Christoff

    2011-12-01

    Musicians often suffer from disorders of the musculoskeletal system that are related to their instrument playing. Among the most frequent symptoms are complaints in the shoulder-neck area. Radial shock wave therapy is increasingly used in trigger point treatment, but only few high-level studies have examined of shock wave therapy used together with physical therapy in the treatment of musicians. This randomized blinded study in musicians (n = 26) with nonspecific shoulder-neck problems was done to examine the effect of shock wave therapy in addition to current physical therapy on the symptoms and quality of life of the musicians as well as their habits of playing musical instruments (intervention group shock wave vs reference group placebo). The effects were documented by a pain VAS and other instruments. A questionnaire designed specifically for musicians (with initial and final questions) recorded intensity and manifestation of pain and handicaps in daily life, especially when practicing and playing. The Shoulder Pain and Disability Index (SPADI) and the Neck Pain Disability Index Questionnaire (NPDIQ) were also used. Both groups reported subjective improvement in pain, but significance was found only for the intervention group for the SPADI and NPDIQ. Trigger point treatment with radial shock wave used in combination with physical therapy makes the subjects feel temporarily relieved of neck and shoulder pains. The effects of radial shock wave without physical therapy will need to be examined in further studies.

  15. Heart Rate Response of Professional Musicians When Playing Music.

    Science.gov (United States)

    Vellers, Heather L; Irwin, Conor; Lightfoot, J T

    2015-06-01

    The primary aim was to determine the level of physiological stress evoked while playing music in a standing position as indicated by heart rate (HR) response. A secondary aim was to analyze the effect of music genre (classic rock, western, contemporary Christian, and metal rock) on the relative HR response. Lastly, we considered potential physiological initiators of the music-playing-induced HR response. HR response was monitored in 27 professional musicians (3 women, 24 men) between the ages of 21 and 67 yrs old during rehearsal and public performances. The percent maximal HR (%MHR) evoked was determined by taking a percentage of the age-predicted maximal HR for each musician and comparing the average %MHR in each genre during public and rehearsal events. The role of the potential initiators of these responses (e.g., number of years playing in public, event type, instrument type, tempo, etc.) was determined using multiple regression analyses. The overall average %MHR responses were 52 ± 5% and 59 ± 5% during rehearsal and public performances, respectively, with genre type having a significant effect on the HR response (p=0.01). Body mass index and tempo were each found to be significant contributors to the HR response while playing music (r²=0.506, p=0.001). Playing music professionally evokes considerable increases in HR response, with music genre influencing the level of the physiological response. We concluded that 50% of the HR response while playing music was associated with body mass index, music tempo, and instrument type.

  16. Automatic encoding of polyphonic melodies in musicians and nonmusicians.

    Science.gov (United States)

    Fujioka, Takako; Trainor, Laurel J; Ross, Bernhard; Kakigi, Ryusuke; Pantev, Christo

    2005-10-01

    In music, multiple musical objects often overlap in time. Western polyphonic music contains multiple simultaneous melodic lines (referred to as "voices") of equal importance. Previous electrophysiological studies have shown that pitch changes in a single melody are automatically encoded in memory traces, as indexed by mismatch negativity (MMN) and its magnetic counterpart (MMNm), and that this encoding process is enhanced by musical experience. In the present study, we examined whether two simultaneous melodies in polyphonic music are represented as separate entities in the auditory memory trace. Musicians and untrained controls were tested in both magnetoencephalogram and behavioral sessions. Polyphonic stimuli were created by combining two melodies (A and B), each consisting of the same five notes but in a different order. Melody A was in the high voice and Melody B in the low voice in one condition, and this was reversed in the other condition. On 50% of trials, a deviant final (5th) note was played either in the high or in the low voice, and it either went outside the key of the melody or remained within the key. These four deviations occurred with equal probability of 12.5% each. Clear MMNm was obtained for most changes in both groups, despite the 50% deviance level, with a larger amplitude in musicians than in controls. The response pattern was consistent across groups, with larger MMNm for deviants in the high voice than in the low voice, and larger MMNm for in-key than out-of-key changes, despite better behavioral performance for out-of-key changes. The results suggest that melodic information in each voice in polyphonic music is encoded in the sensory memory trace, that the higher voice is more salient than the lower, and that tonality may be processed primarily at cognitive stages subsequent to MMN generation.

  17. Activation of the left superior temporal gyrus of musicians by music-derived sounds.

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    Matsui, Toshie; Tanaka, Satomi; Kazai, Koji; Tsuzaki, Minoru; Katayose, Haruhiro

    2013-01-09

    Previous studies have suggested that professional musicians comprehend features of music-derived sound even if the sound sequence lacks the traditional temporal structure of music. We tested this hypothesis through behavioral and functional brain imaging experiments. Musicians were better than nonmusicians at identifying scrambled pieces of piano music in which the original temporal structure had been destroyed. Bilateral superior temporal gyri (STG) activity was observed while musicians listened to the scrambled stimuli, whereas this activity was present only in the right STG of nonmusicians under the same experimental conditions. We suggest that left STG activation is related to the processing of deviants, which appears to be enhanced in musicians. This may be because of the superior knowledge of musical temporal structure held by this population.

  18. Revisiting the "enigma" of musicians with dyslexia: Auditory sequencing and speech abilities.

    Science.gov (United States)

    Zuk, Jennifer; Bishop-Liebler, Paula; Ozernov-Palchik, Ola; Moore, Emma; Overy, Katie; Welch, Graham; Gaab, Nadine

    2017-04-01

    Previous research has suggested a link between musical training and auditory processing skills. Musicians have shown enhanced perception of auditory features critical to both music and speech, suggesting that this link extends beyond basic auditory processing. It remains unclear to what extent musicians who also have dyslexia show these specialized abilities, considering often-observed persistent deficits that coincide with reading impairments. The present study evaluated auditory sequencing and speech discrimination in 52 adults comprised of musicians with dyslexia, nonmusicians with dyslexia, and typical musicians. An auditory sequencing task measuring perceptual acuity for tone sequences of increasing length was administered. Furthermore, subjects were asked to discriminate synthesized syllable continua varying in acoustic components of speech necessary for intraphonemic discrimination, which included spectral (formant frequency) and temporal (voice onset time [VOT] and amplitude envelope) features. Results indicate that musicians with dyslexia did not significantly differ from typical musicians and performed better than nonmusicians with dyslexia for auditory sequencing as well as discrimination of spectral and VOT cues within syllable continua. However, typical musicians demonstrated superior performance relative to both groups with dyslexia for discrimination of syllables varying in amplitude information. These findings suggest a distinct profile of speech processing abilities in musicians with dyslexia, with specific weaknesses in discerning amplitude cues within speech. Because these difficulties seem to remain persistent in adults with dyslexia despite musical training, this study only partly supports the potential for musical training to enhance the auditory processing skills known to be crucial for literacy in individuals with dyslexia. (PsycINFO Database Record (c) 2017 APA, all rights reserved).

  19. Syphilis in composers and musicians--Mozart, Beethoven, Paganini, Schubert, Schumann, Smetana.

    Science.gov (United States)

    Franzen, C

    2008-12-01

    In the pre-antibiotics era, syphilis was an extremely common disease. The first well-recorded European outbreak of what is now known as syphilis occurred in 1494, when it appeared among French troops besieging Naples. Thereafter, the disease spread all over Europe and, in the 18th and 19th centuries, many artists became victims of syphilis, among them poets, painters, philosophers, and musicians and composers. This review presents biographies of several musicians and composers that probably suffered from syphilis.

  20. Effects of practice and experience on the arcuate fasciculus: comparing singers, instrumentalists, and non-musicians.

    Science.gov (United States)

    Halwani, Gus F; Loui, Psyche; Rüber, Theodor; Schlaug, Gottfried

    2011-01-01

    Structure and function of the human brain are affected by training in both linguistic and musical domains. Individuals with intensive vocal musical training provide a useful model for investigating neural adaptations of learning in the vocal-motor domain and can be compared with learning in a more general musical domain. Here we confirm general differences in macrostructure (tract volume) and microstructure (fractional anisotropy, FA) of the arcuate fasciculus (AF), a prominent white-matter tract connecting temporal and frontal brain regions, between singers, instrumentalists, and non-musicians. Both groups of musicians differed from non-musicians in having larger tract volume and higher FA values of the right and left AF. The AF was then subdivided in a dorsal (superior) branch connecting the superior temporal gyrus and the inferior frontal gyrus (STG ↔ IFG), and ventral (inferior) branch connecting the middle temporal gyrus and the inferior frontal gyrus (MTG ↔ IFG). Relative to instrumental musicians, singers had a larger tract volume but lower FA values in the left dorsal AF (STG ↔ IFG), and a similar trend in the left ventral AF (MTG ↔ IFG). This between-group comparison controls for the general effects of musical training, although FA was still higher in singers compared to non-musicians. Both musician groups had higher tract volumes in the right dorsal and ventral tracts compared to non-musicians, but did not show a significant difference between each other. Furthermore, in the singers' group, FA in the left dorsal branch of the AF was inversely correlated with the number of years of participants' vocal training. Our findings suggest that long-term vocal-motor training might lead to an increase in volume and microstructural complexity of specific white-matter tracts connecting regions that are fundamental to sound perception, production, and its feedforward and feedback control which can be differentiated from a more general musician

  1. Effects of practice and experience on the arcuate fasciculus: comparing singers, instrumentalists, and non-musicians

    Directory of Open Access Journals (Sweden)

    Gus F. Halwani

    2011-07-01

    Full Text Available Structure and function of the human brain are affected by training in both linguistic and musical domains. Individuals with intensive vocal musical training provide a useful model for investigating neural adaptations of learning in the vocal-motor domain and can be compared with learning in a more general musical domain. Here we confirm general differences in macrostructure (tract volume and microstructure (fractional anisotropy (FA of the arcuate fasciculus (AF, a prominent white-matter tract connecting temporal and frontal brain regions, between singers, instrumentalists, and non-musicians. Both groups of musicians differed from non-musicians in having larger tract volume and higher FA values of the right and left AF. The AF was then subdivided in a dorsal (superior branch connecting the superior temporal gyrus and the inferior frontal gyrus (STG<–>IFG, and ventral (inferior branch connecting the middle temporal gyrus and the inferior frontal gyrus (MTG<–>IFG. Relative to instrumental musicians, singers had a larger tract volume but lower FA values in the left dorsal AF (STG<–>IFG, and a similar trend in the left ventral AF (MTG<–>IFG. This between-group comparison controls for the general effects of musical training, although FA was still higher in singers compared to non-musicians. Both musician groups had higher tract volumes in the right dorsal and ventral tracts compared to non-musicians, but did not show a significant difference between each other. Furthermore, in the singers’ group, FA in the left dorsal branch of the AF was inversely correlated with the number of years of participants’ vocal training. Our findings suggest that long-term vocal-motor training might lead to an increase in volume and microstructural complexity of specific white matter tracts connecting regions that are fundamental to sound perception, production, and its feedforward and feedback control which can be differentiated from a more general musician

  2. MUSICAL INTERPRETATION OF THE POETIC SOURCE IN THE RAP POEM FROM THE VOCAL-SYMPHONIC CYCLE FOR BARITONE AND ORCHESTRA APRÈS UNE LECTURE BY GHENADIE CIOBANU

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    CIOBANU-SUHOMLIN IRINA

    2017-06-01

    Full Text Available The author considers the peculiarities of the interpretation of the poetic text in the music of one of the poems of the vocal and symphonic cycle for baritone and orchestra „Après une Lecture” by Ghenadie Ciobanu. The purpose of the article is to reveal the specific features of the musical and poetic synthesis achieved by the composer in the „Rap Poem”: in the description of the genre basis of the poetic and musical works, their figurative content, the correlation of their syntax, the specific musical intonation of the poetic text, the role of the orchestra. The composer’s method of working with a word is evaluated from the novelty standpoint, and the final artistic result is determined from the position of its stylistic affiliation as a musical exemple of the „third direction” in the music of the 20th century.

  3. Sonographic alteration of lenticular nucleus in focal task-specific dystonia of musicians.

    Science.gov (United States)

    Walter, Uwe; Buttkus, Franziska; Benecke, Reiner; Grossmann, Annette; Dressler, Dirk; Altenmüller, Eckart

    2012-01-01

    In distinct movement disorders, transcranial sonography detects alterations of deep brain structures with higher sensitivity than other neuroimaging methods. Lenticular nucleus hyperechogenicity on transcranial sonography, thought to be caused by increased local copper content, has been reported as a characteristic finding in primary spontaneous dystonia. Here, we wanted to find out whether deep brain structures are altered in task-specific dystonia. The frequency of sonographic brainstem and basal ganglia changes was studied in an investigator-blinded setting in 15 musicians with focal task-specific hand dystonia, 15 musicians without dystonia, and 15 age- and sex-matched nonmusicians without dystonia. Lenticular nucleus hyperechogenicity was found in 12 musicians with task-specific dystonia, but only in 3 nondystonic musicians (Fisher's exact test, p = 0.001) and 2 nonmusicians (p musicians correlated with age, but not with duration of music practice or duration of dystonia. In 2 of 3 affected musicians with normal echogenic lenticular nucleus, substantia nigra hyperechogenicity was found. Our findings support the idea of a pathogenetic link between primary spontaneous and task-specific dystonia. Sonographic basal ganglia alteration might indicate a risk factor that in combination with extensive fine motor training promotes the manifestation of task-specific dystonia. Copyright © 2011 S. Karger AG, Basel.

  4. Modulation of Functional Connectivity in Auditory-Motor Networks in Musicians Compared with Nonmusicians.

    Science.gov (United States)

    Palomar-García, María-Ángeles; Zatorre, Robert J; Ventura-Campos, Noelia; Bueichekú, Elisenda; Ávila, César

    2017-05-01

    Correlation of spontaneous fluctuations at rest between anatomically distinct brain areas are proposed to reflect the profile of individual a priori cognitive biases, coded as synaptic efficacies in cortical networks. Here, we investigate functional connectivity at rest (rs-FC) in musicians and nonmusicians to test for differences in auditory, motor, and audiomotor connectivity. As expected, musicians had stronger rs-FC between the right auditory cortex (AC) and the right ventral premotor cortex than nonmusicians, and this stronger rs-FC was greater in musicians with more years of practice. We also found reduced rs-FC between the motor areas that control both hands in musicians compared with nonmusicians, which was more evident in the musicians whose instrument required bimanual coordination and as a function of hours of practice. Finally, we replicated previous morphometric data to show an increased volume in the right AC in musicians, which was greater in those with earlier musical training, and that this anatomic feature was in turn related to greater rs-FC between auditory and motor systems. These results show that functional coupling within the motor system and between motor and auditory areas is modulated as a function of musical training, suggesting a link between anatomic and functional brain features. © The Author 2016. Published by Oxford University Press. All rights reserved. For Permissions, please e-mail: journals.permissions@oup.com.

  5. COMMUNICATIONAL THINKING IN THE STATE ORCHESTRA OF MATO GROSSO AND THE FIELD OF CONCERT MUSIC IN CUIABÁ

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    Yuji Gushiken

    2016-12-01

    Full Text Available Na perspectiva da “comunicação como cultura”, este artigo tem como questão central a relação entre pensamento comunicacional e a formação da música de concerto como campo artístico-cultural, num estudo de caso da Orquestra do Estado de Mato Grosso (OEMT. Criada em 2005, a OEMT instituiu um novo momento para a música de concerto em Cuiabá, capital de Mato Grosso, estado do Centro-Oeste com parte de seu território na Amazônia Legal. O funcionamento da OEMT na primeira década de atividade (2005-2015 atualiza-se com o desenvolvimento paralelo de estratégias de comunicação organizacional que redimensionam as relações da orquestra junto a seus diversos públicos. A interface entre distintos campos profissionais evidencia a dimensão comunicacional das práticas artísticas e culturais na contemporaneidade.   PALAVRAS-CHAVE: Comunicação; Música de concerto; Orquestra do Estado de Mato Grosso; Cuiabá.     ABSTRACT In the perspective of “communication as culture”, this article has as its central question the relationship between communicational thinking and the formation of concert music as an artistic-cultural field, in a case study of the State Orchestra of Mato Grosso (OEMT. Created in 2005, OEMT instituted a new moment for concert music in Cuiabá, capital of Mato Grosso, state of the Midwest with part of its territory in the Legal Amazon. The operation of OEMT in the first decade of activity (2005-2015 is updated with the parallel development of organizational communication strategies that reshape the relations of the orchestra with its different audiences. The interface between different professional fields evidences the communicational dimension of the artistic and cultural practices in the contemporaneity.   KEYWORDS: Communication; Concert music; State Orchestra of  Mato Grosso; Cuiabá.     RESUMEN Desde la perspectiva de la “comunicación como cultura”, este artículo tiene como cuestión central la

  6. DEMONSTRATION OF LEACHXS/ORCHESTRA CAPABILITIES BY SIMULATING CONSTITUENT RELEASE FROM A CEMENTITIOUS WASTE FORM IN A REINFORCED CONCRETE VAULT

    Energy Technology Data Exchange (ETDEWEB)

    Langton, C.; Meeussen, J.; Sloot, H.

    2010-03-31

    The objective of the work described in this report is to demonstrate the capabilities of the current version of LeachXS{trademark}/ORCHESTRA for simulating chemical behavior and constituent release processes in a range of applications that are relevant to the CBP. This report illustrates the use of LeachXS{trademark}/ORCHESTRA for the following applications: (1) Comparing model and experimental results for leaching tests for a range of cementitious materials including cement mortars, grout, stabilized waste, and concrete. The leaching test data includes liquid-solid partitioning as a function of pH and release rates based on laboratory column, monolith, and field testing. (2) Modeling chemical speciation of constituents in cementitious materials, including liquid-solid partitioning and release rates. (3) Evaluating uncertainty in model predictions based on uncertainty in underlying composition, thermodynamic, and transport characteristics. (4) Generating predominance diagrams to evaluate predicted chemical changes as a result of material aging using the example of exposure to atmospheric conditions. (5) Modeling coupled geochemical speciation and diffusion in a three layer system consisting of a layer of Saltstone, a concrete barrier, and a layer of soil in contact with air. The simulations show developing concentration fronts over a time period of 1000 years. (6) Modeling sulfate attack and cracking due to ettringite formation. A detailed example for this case is provided in a separate article by the authors (Sarkar et al. 2010). Finally, based on the computed results, the sensitive input parameters for this type of modeling are identified and discussed. The chemical speciation behavior of substances is calculated for a batch system and also in combination with transport and within a three layer system. This includes release from a barrier to the surrounding soil as a function of time. As input for the simulations, the physical and chemical properties of the

  7. Music education and musicians: Expectations, course and outcomes

    Directory of Open Access Journals (Sweden)

    Bogunović Blanka

    2012-01-01

    Full Text Available Considering the long-term talent development, from the moment of its recognition to the moment when an adult is confronted with the necessity of integration in the professional music and life streams, we wonder whether education satisfies the needs of talents and provides, in the long run, the necessary knowledge and skills. The aim of this research was to investigate: (1 the initial motivation for learning music and expectations from music education; (2 the course of development of young musicians (the degree of self-actualisation, developmental perspectives, evaluation of music education and (3 outcomes of music education and development of the professional career. The sample (N=487 consisted of five subsamples: music kindergarten pupils, students of primary music schools, students of secondary music schools, university students of music and teachers at music schools and universities. The paper analyses psychological, educational and professional aspects of education of musically gifted pupils and students, as well as music teachers in five successive age groups. The results indicate that with an increase in age there is a considerable increase in the variety and scope of expectations and a higher aspiration towards personal, educational and professional lifelong improvement, while, at the same time, there is a considerable decrease in the level of fulfilment of expectations and the level of assessment of self-actualisation. This is indicative of a continuously present feeling of “hidden underachievement” in the group of (relatively successful young musicians and professionals. Analysis of respondents’ answers points out to the existence of still traditional system of music education, which lacks flexibility and innovation and fails to provide a sufficient level of transferable knowledge and skills. The findings point out to a whole cluster of controversies demanding further reconsideration and (redesigning of the curriculum of (high

  8. Theme-period, as the basic compositional form during the first movement of Isak Shehu`s Symphony “Illyrians”

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    Fatos Lumani

    2017-03-01

    Full Text Available The traditional doctrine of musical forms has its sentence, phrase, period and punctuation. Questions, exclamations, subordinate clauses are everywhere, voices rise and fall, and, in all of this, the gesture of music is borrowed from the speaking voice” (Adorno, Gillespie, 1993. Based on the quote of Adorno (1993, we will analyze this paper with the purpose of answering a few questions concerning the already designated thesis “The theme – Period, a fundamental compositional form in the first movement of the symphony by Cesk Zadeja”, talking through the period from different perspectives as follows: The complex sentence and the period in music; The initial forms of the period in music; The period in classicism/the period and the folk melodies in the classical symphonies; Theme-period, as the basic compositional form during the first movement of Isak Shehu`s Symphony. As an introduction we would like to refer to some studies/lectures that relate to language with music, such as: “The Unanswered Question: Six Talks at Harvard”(Bernstein, 1981 where Bernstein in his opening fi rst lecture clarified the significance of “the interdisciplinary strategy by saying that “...the best way to ‘know’ a thing is in the context of another discipline”. Within these six lectures, Bernstein explains his ideas regarding the universality of music drawing analogies to other disciplines such as linguistics, philosophy, aesthetics, acoustics and history of music. As the primary interdisciplinary subject, Bernstein chose the recent work of Noam Chomsky on linguistic theories about “Language and Mind”. In the first three lectures, Bernstein analyzes the music from a linguistic aspect: phonology (sound, syntax (structure and semantics (meaning, pinpointing the music of the classical period.

  9. What Classical Musicians Can Learn from Working with Actors: Conceptual and Pedagogic Foundations and Outcomes of Bringing Musicians to Integrate in a Drama Training Environment

    Science.gov (United States)

    Rea, Ken

    2015-01-01

    Effective teaching in a music conservatoire needs a continual quest to find new and better ways of delivering excellence. The challenge is to keep the work innovative. In this article I argue that, for a classical musician the communication of personality is a vital component of excellence in performance and I give reasons why an authentic,…

  10. Simultaneous EEG and EMG biofeedback for peak performance in musicians.

    Science.gov (United States)

    Markovska-Simoska, Silvana; Pop-Jordanova, Nada; Georgiev, Dejan

    2008-07-01

    The aim of this study was to determine the effects of alpha neurofeedback and EMG biofeedback protocols for improvement of musical performance in violinists. The sample consisted of 12 music students (10 violinists and 2 viola players) from the Faculty of Music, Skopje (3 males, mean age of 20 +/- 0 and 9 females, mean age = 20.89 +/- 2.98). Six of them had a low alpha peak frequency (APF) ( 10 Hz). The sample was randomized in two groups. The students from the experimental group participated in 20 sessions of biofeedback (alpha/EMG), combined with music practice, while the students from the control group did only music practice. Average absolute power, interhemispheric coherence in the alpha band, alpha peak frequency (APF), individual alpha band width (IABW), amount of alpha suppression (AAS) and surface forehead integrated EMG power (IEMG), as well as a score on musical performance and inventories measuring anxiety, were assessed. Alpha-EEG/EMG-biofeedback was associated with a significant increase in average alpha power, APF and IABW in all the participants and with decreases in IEMG only in high-APF musicians. The biofeedback training success was positively correlated with the alpha power, IcoH, APF, IABW and baseline level of APF and IABW. Alpha-EEG/EMG biofeedback is capable of increasing voluntary self-regulation and the quality of musical performance. The efficiency of biofeedback training depends on the baseline EEG alpha activity status, in particular the APF.

  11. BIOCHEM-ORCHESTRA: A tool for evaluating chemical speciation and ecotoxicological impacts of heavy metals on river flood plain systems

    International Nuclear Information System (INIS)

    Vink, J.P.M.; Meeussen, J.C.L.

    2007-01-01

    The chemical speciation model BIOCHEM was extended with ecotoxicological transfer functions for uptake of metals (As, Cd, Cu, Ni, Pb, and Zn) by plants and soil invertebrates. It was coupled to the object-oriented framework ORCHESTRA to achieve a flexible and dynamic decision support system (DSS) to analyse natural or anthropogenic changes that occur in river systems. The DSS uses the chemical characteristics of soils and sediments as input, and calculates speciation and subsequent uptake by biota at various scenarios. Biotic transfer functions were field-validated, and actual hydrological conditions were derived from long-term monitoring data. The DSS was tested for several scenarios that occur in the Meuse catchment areas, such as flooding and sedimentation of riverine sediments on flood plains. Risks are expressed in terms of changes in chemical mobility, and uptake by flood plain key species (flora and fauna). - A diagnostic risk-assessment tool for heavy metals, based on biotic and abiotic interactions, compares risks under different environmental scenarios

  12. Prevalence of orthorexia nervosa among Turkish performance artists.

    Science.gov (United States)

    Aksoydan, E; Camci, N

    2009-03-01

    The aim of the study was to determine the prevalence of orthorexia nervosa among the performance artists in the State Opera and Ballet and in the Bilkent University Symphony Orchestra. The study population consisted of 39 men and 55 women for a total of 94 artists with mean age of 33 years. The ORTO-15 test was used to determine the prevalence of orthorexia nervosa. Those subjects who scored below 40 in the ORTO-15 test were classified as having orthorexia nervosa. Mean score of the participants in the ORTO-15 test was 37.9+/-4.46. A total of 56.4% of the artists involved in the research scored below 40 in the ORTO-15 test. While the highest prevalence of orthorexia nervosa was recorded among opera singers (81.8%), it was 32.1% among ballet dancers and 36.4% among symphony orchestra musicians. The differences between the three groups were statistically significant. No difference was noted between mean ORTO-15 score by baseline characteristics as gender, age, educational level, work experience, body mass index, smoking and alcohol consumption. The research group have a higher socio-economic and education level than the majority of the general public in Turkey. Additionally, being an artist in Turkey means being a role model for the general public both in terms one's physical appearance and lifestyle. These may be the reason why artists are more sensitive to this issue.

  13. "You cannot perform music without taking care of your body": a qualitative study on musicians' representation of body and health.

    Science.gov (United States)

    Schoeb, Veronika; Zosso, Amélie

    2012-09-01

    To identify professional musicians' representation of health and illness and to identify its perceived impact on musical performance. A total of 11 professional musicians participated in this phenomenological study. Five of the musicians were healthy, and the others suffered debilitating physical health problems caused by playing their instruments. Semi-structured interviews were conducted, transcribed verbatim and analysed. Thematic analysis, including a six-step coding process, was performed (ATLAS-ti 6). Three major themes emerged from the data: music as art, the health of musicians, and learning through experience. The first theme, music as art, was discussed by both groups; they talked about such things as passion, joy, sense of identity, sensitivity, and a musician's hard life. Discussions of the second theme, the health of musicians, revealed a complex link between health and performance, including the dramatic impact of potential or actual health problems on musical careers. Not surprisingly, musicians with health problems were more concerned with dysfunctional body parts (mostly the hand), whereas healthy musicians focused on maintaining the health of the entire person. The third theme, learning through experience, focused on the dynamic nature of health and included the life-long learning approach, not only in terms of using the body in musical performance but also in daily life. The centre of a musician's life is making music in which the body plays an important part. Participants in this study evidenced a complex link between health and musical performance, and maintaining health was perceived by these musicians as a dynamic balance. Our results suggest that learning through experience might help musicians adapt to changes related to their bodies.

  14. Prevalence of temporomandibular joint disorders and neck pain in musicians: a sytematic review

    Directory of Open Access Journals (Sweden)

    Bennatan Ferreira dos Santos

    Full Text Available Abstract Introduction: The instrumental practice for a long time, the high performance level, the strict technique and the specific shape of each musical instrument can take musicians to overcome their physiological limits, giving a high prevalence of musculoskeletal injuries. Objective: Investigate the prevalence of temporomandibular joint disorder and neck pain in musicians. Methods: Between August and September 2015 were reviewed five databases: LILACS, SciELO, Medline / PubMed, Scopus and Web of Science. The articles were read and evaluated by the criteria of the Strengthening the Reporting of Observational Studies in Epidemiology (STROBE, items, that obtained a percentage above of 50 percent, were considered in the analysis of this work. Results: 15 articles attended the inclusion criteria. Among all musicians the prevalence of TMJ pain ranged from 10 - 81% and the prevalence of neck pain ranged from 29 - 80%. Conclusion: In this study was observed that the musicians showed both, temporomandibular joint disorders and neck pain, watching a high prevalence especially in violinists and the horn players. In the risk factors identified in the literature for the emergence of painful symptoms in musicians, stand out the biomechanical factors involved in maintaining anti-physiologic postures.

  15. Neuroarchitecture of verbal and tonal working memory in nonmusicians and musicians.

    Science.gov (United States)

    Schulze, Katrin; Zysset, Stefan; Mueller, Karsten; Friederici, Angela D; Koelsch, Stefan

    2011-05-01

    Working memory (WM) for auditory information has been thought of as a unitary system, but whether WM for verbal and tonal information relies on the same or different functional neuroarchitectures has remained unknown. This fMRI study examines verbal and tonal WM in both nonmusicians (who are trained in speech, but not in music) and highly trained musicians (who are trained in both domains). The data show that core structures of WM are involved in both tonal and verbal WM (Broca's area, premotor cortex, pre-SMA/SMA, left insular cortex, inferior parietal lobe), although with significantly different structural weightings, in both nonmusicians and musicians. Additionally, musicians activated specific subcomponents only during verbal (right insular cortex) or only during tonal WM (right globus pallidus, right caudate nucleus, and left cerebellum). These results reveal the existence of two WM systems in musicians: A phonological loop supporting rehearsal of phonological information, and a tonal loop supporting rehearsal of tonal information. Differences between groups for tonal WM, and between verbal and tonal WM within musicians, were mainly related to structures involved in controlling, programming and planning of actions, thus presumably reflecting differences in action-related sensorimotor coding of verbal and tonal information. Copyright © 2010 Wiley-Liss, Inc.

  16. Neural correlates of pre-attentive processing of pattern deviance in professional musicians.

    Science.gov (United States)

    Habermeyer, Benedikt; Herdener, Marcus; Esposito, Fabrizio; Hilti, Caroline C; Klarhöfer, Markus; di Salle, Francesco; Wetzel, Stephan; Scheffler, Klaus; Cattapan-Ludewig, Katja; Seifritz, Erich

    2009-11-01

    Pre-attentive registration of aberrations in predictable sound patterns is attributed to the temporal cortex. However, electrophysiology suggests that frontal areas become more important when deviance complexity increases. To play an instrument in an ensemble, professional musicians have to rely on the ability to detect even slight deviances from expected musical patterns and therefore have highly trained aural skills. Here, we aimed to identify the neural correlates of experience-driven plasticity related to the processing of complex sound features. We used functional magnetic resonance imaging in combination with an event-related oddball paradigm and compared brain activity in professional musicians and non-musicians during pre-attentive processing of melodic contour variations. The melodic pattern consisted of a sequence of five tones each lasting 50 ms interrupted by silent interstimulus intervals of 50 ms. Compared to non-musicians, the professional musicians showed enhanced activity in the left middle and superior temporal gyri, the left inferior frontal gyrus and in the right ventromedial prefrontal cortex in response to pattern deviation. This differential brain activity pattern was correlated with behaviorally tested musical aptitude. Our results thus support an experience-related role of the left temporal cortex in fast melodic contour processing and suggest involvement of the prefrontal cortex.

  17. Theta Coherence Asymmetry in the Dorsal Stream of Musicians Facilitates Word Learning.

    Science.gov (United States)

    Elmer, Stefan; Albrecht, Joëlle; Valizadeh, Seyed Abolfazl; François, Clément; Rodríguez-Fornells, Antoni

    2018-03-15

    Word learning constitutes a human faculty which is dependent upon two anatomically distinct processing streams projecting from posterior superior temporal (pST) and inferior parietal (IP) brain regions toward the prefrontal cortex (dorsal stream) and the temporal pole (ventral stream). The ventral stream is involved in mapping sensory and phonological information onto lexical-semantic representations, whereas the dorsal stream contributes to sound-to-motor mapping, articulation, complex sequencing in the verbal domain, and to how verbal information is encoded, stored, and rehearsed from memory. In the present source-based EEG study, we evaluated functional connectivity between the IP lobe and Broca's area while musicians and non-musicians learned pseudowords presented in the form of concatenated auditory streams. Behavioral results demonstrated that musicians outperformed non-musicians, as reflected by a higher sensitivity index (d'). This behavioral superiority was paralleled by increased left-hemispheric theta coherence in the dorsal stream, whereas non-musicians showed stronger functional connectivity in the right hemisphere. Since no between-group differences were observed in a passive listening control condition nor during rest, results point to a task-specific intertwining between musical expertise, functional connectivity, and word learning.

  18. Facial Recognition of Happiness Is Impaired in Musicians with High Music Performance Anxiety

    Directory of Open Access Journals (Sweden)

    Alini Daniéli Viana Sabino

    2018-01-01

    Full Text Available IntroductionMusic performance anxiety (MPA can be defined as a lasting and intense apprehension connected with musical performance in public. Studies suggest that MPA can be regarded as a subtype of social anxiety. Since individuals with social anxiety have deficits in the recognition of facial emotion, we hypothesized that musicians with high levels of MPA would share similar impairments.ObjectiveThe aim of this study was to compare parameters of facial emotion recognition (FER between musicians with high and low MPA.Methods150 amateur and professional musicians with different musical backgrounds were assessed in respect to their level of MPA and completed a dynamic FER task. The outcomes investigated were accuracy, response time, emotional intensity, and response bias.ResultsMusicians with high MPA were less accurate in the recognition of happiness (p = 0.04; d = 0.34, had increased response bias toward fear (p = 0.03, and increased response time to facial emotions as a whole (p = 0.02; d = 0.39.ConclusionMusicians with high MPA displayed FER deficits that were independent of general anxiety levels and possibly of general cognitive capacity. These deficits may favor the maintenance and exacerbation of experiences of anxiety during public performance, since cues of approval, satisfaction, and encouragement are not adequately recognized.

  19. Facial Recognition of Happiness Is Impaired in Musicians with High Music Performance Anxiety.

    Science.gov (United States)

    Sabino, Alini Daniéli Viana; Camargo, Cristielli M; Chagas, Marcos Hortes N; Osório, Flávia L

    2018-01-01

    Music performance anxiety (MPA) can be defined as a lasting and intense apprehension connected with musical performance in public. Studies suggest that MPA can be regarded as a subtype of social anxiety. Since individuals with social anxiety have deficits in the recognition of facial emotion, we hypothesized that musicians with high levels of MPA would share similar impairments. The aim of this study was to compare parameters of facial emotion recognition (FER) between musicians with high and low MPA. 150 amateur and professional musicians with different musical backgrounds were assessed in respect to their level of MPA and completed a dynamic FER task. The outcomes investigated were accuracy, response time, emotional intensity, and response bias. Musicians with high MPA were less accurate in the recognition of happiness ( p  = 0.04; d  = 0.34), had increased response bias toward fear ( p  = 0.03), and increased response time to facial emotions as a whole ( p  = 0.02; d  = 0.39). Musicians with high MPA displayed FER deficits that were independent of general anxiety levels and possibly of general cognitive capacity. These deficits may favor the maintenance and exacerbation of experiences of anxiety during public performance, since cues of approval, satisfaction, and encouragement are not adequately recognized.

  20. Diasporic Chinese "Xianshi" Musicians: Impact of Enculturation and Learning on Values Relating to Music and Music-Making

    Science.gov (United States)

    Mok, On Nei Annie

    2011-01-01

    This qualitative study presents a group of five diasporic Chinese "xianshi" musicians in Hong Kong as an example, illustrating how they learnt and value their music throughout their lives, and examines the possible link between learning-practices and values. It is hoped that the lesson learnt from these "xianshi" musicians may…

  1. Differential parietal and temporal contributions to music perception in improvising and score-dependent musicians, an fMRI study

    NARCIS (Netherlands)

    Harris, Robert; de Jong, Bauke M.

    2015-01-01

    Using fMRI, cerebral activations were studied in 24 classically-trained keyboard performers and 12 musically unskilled control subjects. Two groups of musicians were recruited: improvising (n=12) and score-dependent (non-improvising) musicians (n=12). While listening to both familiar and unfamiliar

  2. The Application of Tensegrity Massage in a Professionally Active Musician - Case Report.

    Science.gov (United States)

    Wilk, Iwona; Kurpas, Donata; Andrzejewski, Waldemar; Okręglicka-Forysiak, Ewa; Gworys, Bohdan; Kassolik, Krzysztof

    2016-01-01

    The purpose of our study was to present options for the application of tensegrity massage to manage pain caused by the overload of soft tissues in musicians. Tensegrity massage was applied to a 34-year-old male violinist. The methodology included a correct positioning and tensegrity massage with individually designed procedure. After therapy, the patient achieved complete pain relief, and relaxation of muscles in the shoulder girdle and free part of the upper arm. The analgesic effect lasted for 6 months after the end of therapy. Massage is an effective method in eliminating pain caused by the overload of soft tissues. If used regularly before physical effort, it can prevent muscle overload. The presented massage procedure is an effective therapy in pain caused by the overload of soft tissues in musicians and it can be one of the elements of complex physiotherapy in active musicians. © 2014 Association of Rehabilitation Nurses.

  3. The Effect of Tactile Cues on Auditory Stream Segregation Ability of Musicians and Nonmusicians

    DEFF Research Database (Denmark)

    Slater, Kyle D.; Marozeau, Jeremy

    2016-01-01

    , we test whether tactile cues can be used to segregate 2 interleaved melodies. Twelve musicians and 12 nonmusicians were asked to detect changes in a 4-note repeated melody interleaved with a random melody. In order to perform this task, the listener must be able to segregate the target melody from...... the random melody. Tactile cues were applied to the listener’s fingers on half of the blocks. Results showed that tactile cues can significantly improve the melodic segregation ability in both musician and nonmusician groups in challenging listening conditions. Overall, the musician group performance...... was always better; however, the magnitude of improvement with the introduction of tactile cues was similar in both groups. This study suggests that hearing-impaired listeners could potentially benefit from a system transmitting such information via a tactile modality...

  4. Enhanced phase synchrony in the electroencephalograph gamma band for musicians while listening to music.

    Science.gov (United States)

    Bhattacharya, J; Petsche, H

    2001-07-01

    Multichannel electroencephalograph signals from two broad groups, 10 musicians and 10 nonmusicians, recorded in different states (in resting states or no task condition, with eyes opened and eyes closed, and with two musical tasks, listening to two different pieces of music) were studied. Degrees of phase synchrony in various frequency bands were assessed. No differences in the degree of synchronization in any frequency band were found between the two groups in resting conditions. Yet, while listening to music, significant increases of synchronization were found only in the gamma-frequency range (>30 Hz) over large cortical areas for the group of musicians. This high degree of synchronization elicited by music in the group of musicians might be due to their ability to host long-term memory representations of music and mediate access to these stored representations.

  5. Enhanced phase synchrony in the electroencephalograph γ band for musicians while listening to music

    Science.gov (United States)

    Bhattacharya, Joydeep; Petsche, Hellmuth

    2001-07-01

    Multichannel electroencephalograph signals from two broad groups, 10 musicians and 10 nonmusicians, recorded in different states (in resting states or no task condition, with eyes opened and eyes closed, and with two musical tasks, listening to two different pieces of music) were studied. Degrees of phase synchrony in various frequency bands were assessed. No differences in the degree of synchronization in any frequency band were found between the two groups in resting conditions. Yet, while listening to music, significant increases of synchronization were found only in the γ-frequency range (>30 Hz) over large cortical areas for the group of musicians. This high degree of synchronization elicited by music in the group of musicians might be due to their ability to host long-term memory representations of music and mediate access to these stored representations.

  6. Action in Perception: Prominent Visuo-Motor Functional Symmetry in Musicians during Music Listening.

    Science.gov (United States)

    Burunat, Iballa; Brattico, Elvira; Puoliväli, Tuomas; Ristaniemi, Tapani; Sams, Mikko; Toiviainen, Petri

    2015-01-01

    Musical training leads to sensory and motor neuroplastic changes in the human brain. Motivated by findings on enlarged corpus callosum in musicians and asymmetric somatomotor representation in string players, we investigated the relationship between musical training, callosal anatomy, and interhemispheric functional symmetry during music listening. Functional symmetry was increased in musicians compared to nonmusicians, and in keyboardists compared to string players. This increased functional symmetry was prominent in visual and motor brain networks. Callosal size did not significantly differ between groups except for the posterior callosum in musicians compared to nonmusicians. We conclude that the distinctive postural and kinematic symmetry in instrument playing cross-modally shapes information processing in sensory-motor cortical areas during music listening. This cross-modal plasticity suggests that motor training affects music perception.

  7. Action in Perception: Prominent Visuo-Motor Functional Symmetry in Musicians during Music Listening.

    Directory of Open Access Journals (Sweden)

    Iballa Burunat

    Full Text Available Musical training leads to sensory and motor neuroplastic changes in the human brain. Motivated by findings on enlarged corpus callosum in musicians and asymmetric somatomotor representation in string players, we investigated the relationship between musical training, callosal anatomy, and interhemispheric functional symmetry during music listening. Functional symmetry was increased in musicians compared to nonmusicians, and in keyboardists compared to string players. This increased functional symmetry was prominent in visual and motor brain networks. Callosal size did not significantly differ between groups except for the posterior callosum in musicians compared to nonmusicians. We conclude that the distinctive postural and kinematic symmetry in instrument playing cross-modally shapes information processing in sensory-motor cortical areas during music listening. This cross-modal plasticity suggests that motor training affects music perception.

  8. Sibelius: Karelia Suite, Op. 11. Luonnotar, Op. 70 a. Andante festivo. The Oceanides, Op. 73. King Christian II, Op. 27-Suite. Finlandia, Op. 26a. Gothenburg Symphony Orchester, Neeme Järvi / Michael Scott Rohan

    Index Scriptorium Estoniae

    Rohan, Michael Scott

    1996-01-01

    Sibelius: Karelia Suite, Op. 11. Luonnotar, Op. 70 a. Andante festivo. The Oceanides, Op. 73. King Christian II, Op. 27-Suite. Finlandia, Op. 26a. Gothenburg Symphony Orchester, Neeme Järvi. 1 CD Deutsche Grammophon 447 760-2GH (72 minutes: DDD)

  9. Effect of Arm Position on Width of the Subacromial Space of Upper String Musicians.

    Science.gov (United States)

    Smithson, Elliot V; Reed Smith, Elizabeth; McIlvain, Gary; Timmons, Mark K

    2017-09-01

    Musicians often end their musical career due to musculoskeletal injury. A leading source of shoulder pain in upper string musicians is rotator cuff disease (RCD). Multiple factors contribute to its development. Compressive overload of the soft tissues of the subacromial space resulting from a decrease in the width of the subacromial space has been identified as an extrinsic factor contributing to RCD development. The purpose of this study was to characterize the width of the subacromial space by measuring acromial-humeral distance (AHD) of upper string musicians, while their arms are in standard playing positions. Experienced musicians (n=23) were recruited from local communities. Shoulder ultrasound images were collected using standard imaging techniques. Images were collected and the AHD measured while the musician's arm was in positions associated with playing the violin. On the right side, the arm position main effect was significant (pstring position (8.8±1.9 mm) was less than the 1st string (11.3±1.4 mm) and resting (11.7±1.3 mm) positions. There was no difference in AHD between resting (10.0±5.8 mm) and instrument-support positions (10.6±1.5 mm). The resting AHD was smaller (p=0.04) on the right side compared to the left (12.2±1.4 mm). There was not statistically significant difference (p=0.138) in the occupation ratio (supraspinatus tendon thickness/AHD) between the right (mean 0.543±0.80 mm) and left sides (mean 0.510±0.087 mm). The AHD measurement decreased in the playing positions compared to resting positions. Treatment interventions that help musicians maximize the width of their subacromial space might help reduce the prevalence of shoulder pain in this population.

  10. Training for sustained performance: moving toward long-term musician development.

    Science.gov (United States)

    Clark, Terry; Lisboa, Tánia

    2013-09-01

    Success in the performing arts, like sports, is dependent upon the acquisition and consistent use of a diverse range of skills. In sports, an understanding of safe and effective use of the body is required to facilitate long-term involvement in that activity. In order to assist athletes to attain their performance goals, and ensure healthy and sustained involvement, long-term athlete development (LTAD) models have been devised and adapted by professional sporting bodies throughout the world. LTAD models emphasize the intellectual, emotional, and social development of the athlete, encourage long-term participation in physical activities, and enable participants to improve their overall health and well-being and increase their life-long participation in physical activity. At present there is no such long-term development model for musicians. Yet musicians must cope with a multitude of career-related physical and mental demands, and performance-related injuries and career burnout are rife within the profession. Despite this, musicians' training rarely addresses such issues and musicians are left largely to learn about them through either chance or accrued experience. This paper discusses key concepts and recommendations in LTAD models, together with music-specific research highlighting the need for the development of a comprehensive long-term approach to musicians' training. The results of a survey of existing music training programs are compared to recommendations and the different development stages in LTAD models. Finally, implementation science is introduced as a methodological option for identifying how best to communicate the body of evidence-based knowledge concerning healthy and effective music-making to young student musicians.

  11. Playing-related musculoskeletal disorders in musicians: a systematic review of incidence and prevalence.

    Science.gov (United States)

    Zaza, C

    1998-04-21

    Work-related musculoskeletal disorders cause pain, disability and loss of employment for many workers, including musicians. Although performing arts medicine is a growing field, the health problems of musicians remain under-recognized and under-researched. Therefore, the author undertook a systematic review of published information on the incidence and prevalence of playing-related musculoskeletal disorders (PRMDs) in classical musicians. Seven databases were searched for the period 1980 to 1996. The main textbook and performing arts medicine journals were searched manually, as were reference lists of all relevant papers. The author also contacted individuals familiar with the literature of performing arts medicine. Studies were included for review if they reported PRMD incidence or prevalence in classical musicians. Of the 24 studies identified, 18 cross-sectional surveys and cohort studies were reviewed. The author subjectively assessed the studies using criteria modified from an existing evaluation scale and used 4 criteria for data combination. On the basis of prevalence values from the eligible studies, chi 2 tests for heterogeneity were performed. Only one study estimated PRMD incidence. Ten of the 17 prevalence studies were ineligible for data combination, because of low response rates and other methodological problems. In the 7 eligible studies, PRMD point prevalence ranged from 39% to 87% in adult musicians and from 34% to 62% in secondary school music students. The best estimates of PRMD prevalence were derived from the 3 studies that excluded mild complaints; these studies indicated that PRMD prevalence was 39% and 47% in adults and 17% in secondary school music students respectively. Statistical combination of data across studies within each demographic category was not possible. Available data indicate that the prevalence of PRMD in adult classical musicians is comparable to the prevalence of work-related musculoskeletal disorders reported for other

  12. Behavioral Quantification of Audiomotor Transformations in Improvising and Score-Dependent Musicians

    Science.gov (United States)

    Harris, Robert; van Kranenburg, Peter; de Jong, Bauke M.

    2016-01-01

    The historically developed practice of learning to play a music instrument from notes instead of by imitation or improvisation makes it possible to contrast two types of skilled musicians characterized not only by dissimilar performance practices, but also disparate methods of audiomotor learning. In a recent fMRI study comparing these two groups of musicians while they either imagined playing along with a recording or covertly assessed the quality of the performance, we observed activation of a right-hemisphere network of posterior superior parietal and dorsal premotor cortices in improvising musicians, indicating more efficient audiomotor transformation. In the present study, we investigated the detailed performance characteristics underlying the ability of both groups of musicians to replicate music on the basis of aural perception alone. Twenty-two classically-trained improvising and score-dependent musicians listened to short, unfamiliar two-part excerpts presented with headphones. They played along or replicated the excerpts by ear on a digital piano, either with or without aural feedback. In addition, they were asked to harmonize or transpose some of the excerpts either to a different key or to the relative minor. MIDI recordings of their performances were compared with recordings of the aural model. Concordance was expressed in an audiomotor alignment score computed with the help of music information retrieval algorithms. Significantly higher alignment scores were found when contrasting groups, voices, and tasks. The present study demonstrates the superior ability of improvising musicians to replicate both the pitch and rhythm of aurally perceived music at the keyboard, not only in the original key, but also in other tonalities. Taken together with the enhanced activation of the right dorsal frontoparietal network found in our previous fMRI study, these results underscore the conclusion that the practice of improvising music can be associated with enhanced

  13. Behavioral Quantification of Audiomotor Transformations in Improvising and Score-Dependent Musicians.

    Science.gov (United States)

    Harris, Robert; van Kranenburg, Peter; de Jong, Bauke M

    2016-01-01

    The historically developed practice of learning to play a music instrument from notes instead of by imitation or improvisation makes it possible to contrast two types of skilled musicians characterized not only by dissimilar performance practices, but also disparate methods of audiomotor learning. In a recent fMRI study comparing these two groups of musicians while they either imagined playing along with a recording or covertly assessed the quality of the performance, we observed activation of a right-hemisphere network of posterior superior parietal and dorsal premotor cortices in improvising musicians, indicating more efficient audiomotor transformation. In the present study, we investigated the detailed performance characteristics underlying the ability of both groups of musicians to replicate music on the basis of aural perception alone. Twenty-two classically-trained improvising and score-dependent musicians listened to short, unfamiliar two-part excerpts presented with headphones. They played along or replicated the excerpts by ear on a digital piano, either with or without aural feedback. In addition, they were asked to harmonize or transpose some of the excerpts either to a different key or to the relative minor. MIDI recordings of their performances were compared with recordings of the aural model. Concordance was expressed in an audiomotor alignment score computed with the help of music information retrieval algorithms. Significantly higher alignment scores were found when contrasting groups, voices, and tasks. The present study demonstrates the superior ability of improvising musicians to replicate both the pitch and rhythm of aurally perceived music at the keyboard, not only in the original key, but also in other tonalities. Taken together with the enhanced activation of the right dorsal frontoparietal network found in our previous fMRI study, these results underscore the conclusion that the practice of improvising music can be associated with enhanced

  14. Faster native vowel discrimination learning in musicians is mediated by an optimization of mnemonic functions.

    Science.gov (United States)

    Elmer, Stefan; Greber, Marielle; Pushparaj, Arethy; Kühnis, Jürg; Jäncke, Lutz

    2017-09-01

    The ability to discriminate phonemes varying in spectral and temporal attributes constitutes one of the most basic intrinsic elements underlying language learning mechanisms. Since previous work has consistently shown that professional musicians are characterized by perceptual and cognitive advantages in a variety of language-related tasks, and since vowels can be considered musical sounds within the domain of speech, here we investigated the behavioral and electrophysiological correlates of native vowel discrimination learning in a sample of professional musicians and non-musicians. We evaluated the contribution of both the neurophysiological underpinnings of perceptual (i.e., N1/P2 complex) and mnemonic functions (i.e., N400 and P600 responses) while the participants were instructed to judge whether pairs of native consonant-vowel (CV) syllables manipulated in the first formant transition of the vowel (i.e., from /tu/ to /to/) were identical or not. Results clearly demonstrated faster learning in musicians, compared to non-musicians, as reflected by shorter reaction times and higher accuracy. Most notably, in terms of morphology, time course, and voltage strength, this steeper learning curve was accompanied by distinctive N400 and P600 manifestations between the two groups. In contrast, we did not reveal any group differences during the early stages of auditory processing (i.e., N1/P2 complex), suggesting that faster learning was mediated by an optimization of mnemonic but not perceptual functions. Based on a clear taxonomy of the mnemonic functions involved in the task, results are interpreted as pointing to a relationship between faster learning mechanisms in musicians and an optimization of echoic (i.e., N400 component) and working memory (i.e., P600 component) functions. Copyright © 2017 Elsevier Ltd. All rights reserved.

  15. Working on a Dream: Careers of Pop Musicians in the Netherlands

    OpenAIRE

    Zwaan, A.J.

    2009-01-01

    The studies presented in this dissertation are concerned with the question why a musician’s career can become a failure or a success. The central research question within this thesis is: What are the determinants of career success for Dutch pop musicians? The first study presents findings from a qualitative study among artist and repertoire (A&R) managers working in the Dutch music industry study that focuses on the career entry of musicians. These A&R managers are employed by record companie...

  16. Left-hemisphere activation is associated with enhanced vocal pitch error detection in musicians with absolute pitch.

    Science.gov (United States)

    Behroozmand, Roozbeh; Ibrahim, Nadine; Korzyukov, Oleg; Robin, Donald A; Larson, Charles R

    2014-02-01

    The ability to process auditory feedback for vocal pitch control is crucial during speaking and singing. Previous studies have suggested that musicians with absolute pitch (AP) develop specialized left-hemisphere mechanisms for pitch processing. The present study adopted an auditory feedback pitch perturbation paradigm combined with ERP recordings to test the hypothesis whether the neural mechanisms of the left-hemisphere enhance vocal pitch error detection and control in AP musicians compared with relative pitch (RP) musicians and non-musicians (NM). Results showed a stronger N1 response to pitch-shifted voice feedback in the right-hemisphere for both AP and RP musicians compared with the NM group. However, the left-hemisphere P2 component activation was greater in AP and RP musicians compared with NMs and also for the AP compared with RP musicians. The NM group was slower in generating compensatory vocal reactions to feedback pitch perturbation compared with musicians, and they failed to re-adjust their vocal pitch after the feedback perturbation was removed. These findings suggest that in the earlier stages of cortical neural processing, the right hemisphere is more active in musicians for detecting pitch changes in voice feedback. In the later stages, the left-hemisphere is more active during the processing of auditory feedback for vocal motor control and seems to involve specialized mechanisms that facilitate pitch processing in the AP compared with RP musicians. These findings indicate that the left hemisphere mechanisms of AP ability are associated with improved auditory feedback pitch processing during vocal pitch control in tasks such as speaking or singing. Copyright © 2013 Elsevier Inc. All rights reserved.

  17. Comparison of the Perceived Musicianship of Skilled Musicians and Their Respective Rhythmic Timings in Performances of Mozart.

    Science.gov (United States)

    Johnson, Christopher M.

    1997-01-01

    Compares patterns of rubato usage in four performances of an excerpt from the Mozart Concerto Number 2 in Eb Major for Horn and Orchestra with assessments of musicianship. Indicates that: (1) rhythm is an important aspect of musicianship; and (2) the largest positive assessment change occurred simultaneously with the use of rubato. (CMK)

  18. Thresholds of auditory-motor coupling measured with a simple task in musicians and non-musicians: was the sound simultaneous to the key press?

    Science.gov (United States)

    van Vugt, Floris T; Tillmann, Barbara

    2014-01-01

    The human brain is able to predict the sensory effects of its actions. But how precise are these predictions? The present research proposes a tool to measure thresholds between a simple action (keystroke) and a resulting sound. On each trial, participants were required to press a key. Upon each keystroke, a woodblock sound was presented. In some trials, the sound came immediately with the downward keystroke; at other times, it was delayed by a varying amount of time. Participants were asked to verbally report whether the sound came immediately or was delayed. Participants' delay detection thresholds (in msec) were measured with a staircase-like procedure. We hypothesised that musicians would have a lower threshold than non-musicians. Comparing pianists and brass players, we furthermore hypothesised that, as a result of a sharper attack of the timbre of their instrument, pianists might have lower thresholds than brass players. Our results show that non-musicians exhibited higher thresholds for delay detection (180 ± 104 ms) than the two groups of musicians (102 ±65 ms), but there were no differences between pianists and brass players. The variance in delay detection thresholds could be explained by variance i n sensorimotor synchronisation capacities as well as variance in a purely auditory temporal irregularity detection measure. This suggests that the brain's capacity to generate temporal predictions of sensory consequences can be decomposed into general temporal prediction capacities together with auditory-motor coupling. These findings indicate that the brain has a relatively large window of integration within which an action and its resulting effect are judged as simultaneous. Furthermore, musical expertise may narrow this window down, potentially due to a more refined temporal prediction. This novel paradigm provides a simple test to estimate the temporal precision of auditory-motor action-effect coupling, and the paradigm can readily be incorporated in

  19. Thresholds of auditory-motor coupling measured with a simple task in musicians and non-musicians: was the sound simultaneous to the key press?

    Directory of Open Access Journals (Sweden)

    Floris T van Vugt

    Full Text Available The human brain is able to predict the sensory effects of its actions. But how precise are these predictions? The present research proposes a tool to measure thresholds between a simple action (keystroke and a resulting sound. On each trial, participants were required to press a key. Upon each keystroke, a woodblock sound was presented. In some trials, the sound came immediately with the downward keystroke; at other times, it was delayed by a varying amount of time. Participants were asked to verbally report whether the sound came immediately or was delayed. Participants' delay detection thresholds (in msec were measured with a staircase-like procedure. We hypothesised that musicians would have a lower threshold than non-musicians. Comparing pianists and brass players, we furthermore hypothesised that, as a result of a sharper attack of the timbre of their instrument, pianists might have lower thresholds than brass players. Our results show that non-musicians exhibited higher thresholds for delay detection (180 ± 104 ms than the two groups of musicians (102 ±65 ms, but there were no differences between pianists and brass players. The variance in delay detection thresholds could be explained by variance i n sensorimotor synchronisation capacities as well as variance in a purely auditory temporal irregularity detection measure. This suggests that the brain's capacity to generate temporal predictions of sensory consequences can be decomposed into general temporal prediction capacities together with auditory-motor coupling. These findings indicate that the brain has a relatively large window of integration within which an action and its resulting effect are judged as simultaneous. Furthermore, musical expertise may narrow this window down, potentially due to a more refined temporal prediction. This novel paradigm provides a simple test to estimate the temporal precision of auditory-motor action-effect coupling, and the paradigm can readily be

  20. Cardiovascular, cerebrovascular, and respiratory changes induced by different types of music in musicians and non-musicians: the importance of silence.

    Science.gov (United States)

    Bernardi, L; Porta, C; Sleight, P

    2006-04-01

    To assess the potential clinical use, particularly in modulating stress, of changes in the cardiovascular and respiratory systems induced by music, specifically tempo, rhythm, melodic structure, pause, individual preference, habituation, order effect of presentation, and previous musical training. Measurement of cardiovascular and respiratory variables while patients listened to music. University research laboratory for the study of cardiorespiratory autonomic function. 12 practising musicians and 12 age matched controls. After a five minute baseline, presentation in random order of six different music styles (first for a two minute, then for a four minute track), with a randomly inserted two minute pause, in either sequence. Breathing rate, ventilation, carbon dioxide, RR interval, blood pressure, mid-cerebral artery flow velocity, and baroreflex. Ventilation, blood pressure, and heart rate increased and mid-cerebral artery flow velocity and baroreflex decreased with faster tempi and simpler rhythmic structures compared with baseline. No habituation effect was seen. The pause reduced heart rate, blood pressure, and minute ventilation, even below baseline. An order effect independent of style was evident for mid-cerebral artery flow velocity, indicating a progressive reduction with exposure to music, independent of style. Musicians had greater respiratory sensitivity to the music tempo than did non-musicians. Music induces an arousal effect, predominantly related to the tempo. Slow or meditative music can induce a relaxing effect; relaxation is particularly evident during a pause. Music, especially in trained subjects, may first concentrate attention during faster rhythms, then induce relaxation during pauses or slower rhythms.

  1. Pop-rock musicians: assessment of their satisfaction provided by hearing protectors.

    Science.gov (United States)

    Santoni, Cristiane Bolzachini; Fiorini, Ana Claudia

    2010-01-01

    Pop-rock musicians are at risk of developing hearing loss and other symptoms related to amplified music. The aim of the present study was to assess the satisfaction provided by the use of hearing protection in pop-rock musicians. Contemporary cohort study. A study of 23 male pop-rock musicians, aged between 25 to 45 years. After audiological evaluation (pure tone audiometry, middle ear analysis, TEOAE and DPOAE) hearing protective devices were provided to be used for three months. After that musicians answered a satisfaction assessment questionnaire. The prevalence of hearing loss was of 21.7%. The most common complaints about the hearing protectors were: autophonia, pressure in the ears, interference in high frequencies perception and full time use of the hearing protector during concerts. There was a positive correlation between a reduction in tinnitus after the use of the HPD with the following complaints: tinnitus after beginning the career (p= 0.044), discomfort with the sound intensity in the work place (p= 0.009) and intolerance to loud sound (p= 0.029). There was a high prevalence of hearing loss and a positive tendency towards the use of the ear protector device among the sample population.

  2. Enhanced Divergent Thinking and Creativity in Musicians: A Behavioral and Near-Infrared Spectroscopy Study

    Science.gov (United States)

    Gibson, Crystal; Folley, Bradley S.; Park, Sohee

    2009-01-01

    Empirical studies of creativity have focused on the importance of divergent thinking, which supports generating novel solutions to loosely defined problems. The present study examined creativity and frontal cortical activity in an externally-validated group of creative individuals (trained musicians) and demographically matched control…

  3. Music Therapy as a Caring Intervention: Swedish Musicians Learning a New Professional Field

    Science.gov (United States)

    Petersson, Gunnar; Nystrom, Maria

    2011-01-01

    The question of competence in providing music therapy has rarely been the focus of interest in empirical research, as most music therapy research aims at measuring outcomes. Therefore, the aim of this study is to analyse and describe musicians' learning processes when they study music therapy as a caring intervention. An initial presumption is…

  4. Embracing the digital in instrument making : Towards a musician-tailored mouthpiece by 3D printing

    NARCIS (Netherlands)

    Lorenzoni, V.; Doubrovski, E.L.; Verlinden, J.C.

    2013-01-01

    At present, the manufacturing of musical instruments still strongly relies on the tacit knowledge of experienced handcrafts while is commonly based on standard machining or casting techniques. This limits the musician-tailoredness to a small group of players, while others take compromises by

  5. Hybrid Spaces and Hyphenated Musicians: Secondary Students' Musical Engagement in a Songwriting and Technology Course

    Science.gov (United States)

    Tobias, Evan S.

    2012-01-01

    This case study investigates how secondary students (three individuals and three groups) engaged with music and acted as musicians in a Songwriting and Technology Class (STC), a course involving the creation, performance, recording and production of original music with instruments and music technology. The following research question guided the…

  6. From Leisure to Work: Amateur Musicians Taking up Instrumental or Vocal Teaching as a Second Career

    Science.gov (United States)

    Taylor, Angela; Hallam, Susan

    2011-01-01

    This article aims to increase our understanding of how amateur musicians become teachers as a change of career, how they use their musical and life skills in their teaching, and how their teaching impacts on their musical identity. The questionnaire responses of 67 career-change instrumental and vocal teachers showed evidence of their strong…

  7. Growing Musicians in English Secondary Schools at Key Stage 3 (Age 11-14)

    Science.gov (United States)

    Dalladay, Christopher

    2017-01-01

    The National Curriculum for Music in England at Key Stage 3 (KS3; age 11-14) declares its purpose that pupils should be inspired to "develop a love of music and their talent as musicians" (DfE, 2013: KS3 Music). The Office for Standards in Education (Ofsted) have criticised secondary schools for a lack of progress in the musical…

  8. Musicians Crossing Musical Instrument Gender Stereotypes: A Study of Computer-Mediated Communication

    Science.gov (United States)

    Abeles, Harold F.; Hafeli, Mary; Sears, Colleen

    2014-01-01

    This study examined computer-mediated communication (CMC) -- blogs and responses to YouTube postings -- to better understand how CMCs reflect adolescents' attitudes towards musicians playing instruments that cross gender stereotypes. Employing purposive sampling, we used specific search terms, such as "girl drummer", to identify a…

  9. The occurrence of musculoskeletal complaints among professional musicians : a systematic review

    NARCIS (Netherlands)

    Kok, Laura M.; Huisstede, Bionka M A; Voorn, Veronique M A; Schoones, Jan W.; Nelissen, Rob G H H

    2016-01-01

    Purpose: This study gives a systematic overview of the literature on the occurrence of musculoskeletal complaints in professional instrumental musicians. Methods: A systematic review. Nine literature databases were searched without time limits on June 25, 2015, also the complete index of the journal

  10. Getting "Capital" in the Music World: Musicians' Learning Experiences and Working Lives

    Science.gov (United States)

    Coulson, Susan

    2010-01-01

    This paper discusses an exploration of the working lives of musicians working in a range of musical genres in the North East of England, revealing the factors that contribute to their ability to obtain a musical livelihood. These factors can be understood in terms of various forms of social, cultural and symbolic "capital" (Bourdieu,…

  11. Musicians' Memory for Verbal and Tonal Materials under Conditions of Irrelevant Sound

    Science.gov (United States)

    Williamson, Victoria J.; Mitchell, Tom; Hitch, Graham J.; Baddeley, Alan D.

    2010-01-01

    Studying short-term memory within the framework of the working memory model and its associated paradigms (Baddeley, 2000; Baddeley & Hitch, 1974) offers the chance to compare similarities and differences between the way that verbal and tonal materials are processed. This study examined amateur musicians' short-term memory using a newly adapted…

  12. The effect of music performance on the transcriptome of professional musicians.

    Science.gov (United States)

    Kanduri, Chakravarthi; Kuusi, Tuire; Ahvenainen, Minna; Philips, Anju K; Lähdesmäki, Harri; Järvelä, Irma

    2015-03-25

    Music performance by professional musicians involves a wide-spectrum of cognitive and multi-sensory motor skills, whose biological basis is unknown. Several neuroscientific studies have demonstrated that the brains of professional musicians and non-musicians differ structurally and functionally and that musical training enhances cognition. However, the molecules and molecular mechanisms involved in music performance remain largely unexplored. Here, we investigated the effect of music performance on the genome-wide peripheral blood transcriptome of professional musicians by analyzing the transcriptional responses after a 2-hr concert performance and after a 'music-free' control session. The up-regulated genes were found to affect dopaminergic neurotransmission, motor behavior, neuronal plasticity, and neurocognitive functions including learning and memory. Particularly, candidate genes such as SNCA, FOS and DUSP1 that are involved in song perception and production in songbirds, were identified, suggesting an evolutionary conservation in biological processes related to sound perception/production. Additionally, modulation of genes related to calcium ion homeostasis, iron ion homeostasis, glutathione metabolism, and several neuropsychiatric and neurodegenerative diseases implied that music performance may affect the biological pathways that are otherwise essential for the proper maintenance of neuronal function and survival. For the first time, this study provides evidence for the candidate genes and molecular mechanisms underlying music performance.

  13. Trauma-Related Dissociation as a Factor Affecting Musicians' Memory for Music: Some Possible Solutions

    Science.gov (United States)

    Swart, Inette; van Niekerk, Caroline; Hartman, Woltemade

    2010-01-01

    An investigation of the influence of trauma on musicians revealed concentration and memory problems as two of the most common symptoms hampering the performance of affected individuals. In many instances where the causes of these problems were related to trauma sequelae, these could clearly be linked to dissociative symptoms. The following…

  14. Communities of Practice in the Conservatory: Learning with a Professional Musician

    Science.gov (United States)

    Virkkula, Esa

    2016-01-01

    This article examines the sociocultural learning of popular and jazz music in communities of practice as part of secondary vocational music education in a Finnish conservatory. The research is based on performance workshops which were implemented as a joint effort between professional musicians and music students. These workshops are suggested as…

  15. Pitch Memory in Nonmusicians and Musicians: Revealing Functional Differences Using Transcranial Direct Current Stimulation.

    Science.gov (United States)

    Schaal, N K; Krause, V; Lange, K; Banissy, M J; Williamson, V J; Pollok, B

    2015-09-01

    For music and language processing, memory for relative pitches is highly important. Functional imaging studies have shown activation of a complex neural system for pitch memory. One region that has been shown to be causally involved in the process for nonmusicians is the supramarginal gyrus (SMG). The present study aims at replicating this finding and at further examining the role of the SMG for pitch memory in musicians. Nonmusicians and musicians received cathodal transcranial direct current stimulation (tDCS) over the left SMG, right SMG, or sham stimulation, while completing a pitch recognition, pitch recall, and visual memory task. Cathodal tDCS over the left SMG led to a significant decrease in performance on both pitch memory tasks in nonmusicians. In musicians, cathodal stimulation over the left SMG had no effect, but stimulation over the right SMG impaired performance on the recognition task only. Furthermore, the results show a more pronounced deterioration effect for longer pitch sequences indicating that the SMG is involved in maintaining higher memory load. No stimulation effect was found in both groups on the visual control task. These findings provide evidence for a causal distinction of the left and right SMG function in musicians and nonmusicians. © The Author 2014. Published by Oxford University Press. All rights reserved. For Permissions, please e-mail: journals.permissions@oup.com.

  16. Behavioral Quantification of Audiomotor Transformations in Improvising and Score-Dependent Musicians

    NARCIS (Netherlands)

    Harris, Robert; van Kranenburg, Peter; de Jong, Bauke M.

    2016-01-01

    The historically developed practice of learning to play a music instrument from notes instead of by imitation or improvisation makes it possible to contrast two types of skilled musicians characterized not only by dissimilar performance practices, but also disparate methods of audiomotor learning.

  17. Working on a Dream: Careers of Pop Musicians in the Netherlands

    NARCIS (Netherlands)

    Zwaan, A.J.

    2009-01-01

    The studies presented in this dissertation are concerned with the question why a musician’s career can become a failure or a success. The central research question within this thesis is: What are the determinants of career success for Dutch pop musicians? The first study presents findings from a

  18. Perceptions of Schooling, Pedagogy and Notation in the Lives of Visually-Impaired Musicians

    Science.gov (United States)

    Baker, David; Green, Lucy

    2016-01-01

    This article discusses findings on schooling, pedagogy and notation in the life-experiences of amateur and professional visually-impaired musicians/music teachers, and the professional experiences of sighted music teachers who work with visually-impaired learners. The study formed part of a broader UK Arts and Humanities Research Council funded…

  19. When Work Starts in Childhood: The Anticipatory Socialization Process of Classical Musicians

    Science.gov (United States)

    Gabor, Elena

    2009-01-01

    Classical music is distinguished among professions in several ways: work has to start in childhood in order to achieve proficiency; the training takes an average of 16 years in order to become a professional musician (Manturzewska, 1990); the cost of training is high; a high level of discipline is required to develop performance abilities…

  20. Student Musicians' Ear-Playing Ability as a Function of Vernacular Music Experiences

    Science.gov (United States)

    Woody, Robert H.; Lehmann, Andreas C.

    2010-01-01

    This study explored the differences in ear-playing ability between formal "classical" musicians and those with vernacular music experience (N = 24). Participants heard melodies and performed them back, either by singing or playing on their instruments. The authors tracked the number of times through the listen-then-perform cycle that each…

  1. Cerebral activations related to audition-driven performance imagery in professional musicians

    NARCIS (Netherlands)

    Bauke M. Jong; Robert Harris

    2014-01-01

    unctional Magnetic Resonance Imaging (fMRI) was used to study the activation of cerebral motor networks during auditory perception of music in professional keyboard musicians (n=12). The activation paradigm implied that subjects listened to two-part polyphonic music, while either critically

  2. Cerebral Activations Related to Audition-Driven Performance Imagery in Professional Musicians

    NARCIS (Netherlands)

    Harris, Robert; de Jong, BM

    2014-01-01

    Functional Magnetic Resonance Imaging (fMRI) was used to study the activation of cerebral motor networks during auditory perception of music in professional keyboard musicians (n = 12). The activation paradigm implied that subjects listened to two-part polyphonic music, while either critically

  3. Investigating Musical Performance: Commonality and Diversity among Classical and Non-Classical Musicians

    Science.gov (United States)

    Creech, Andrea; Papageorgi, Ioulia; Duffy, Celia; Morton, Frances; Hadden, Elizabeth; Potter, John; De Bezenac, Christophe; Whyton, Tony; Himonides, Evangelos; Welch, Graham

    2008-01-01

    The research project "Investigating Musical Performance: Comparative Studies in Advanced Musical Learning" was devised to investigate how classical, popular, jazz and Scottish traditional musicians deepen and develop their learning about performance in undergraduate, postgraduate and wider music community contexts. The aim of this paper is to…

  4. Musicians' Preferences for Tempo and Pitch Levels in Recorded Orchestral Music

    Science.gov (United States)

    Geringer, John M.

    2010-01-01

    This study was designed to ascertain musicians' tempo and pitch level preferences when listening to orchestral music. Ninety graduate and undergraduate music major students were assigned randomly to one of three groups. Participants listened individually to recorded symphonic excerpts, 5 with relatively fast and 5 with relatively slow tempos.…

  5. Effects of Baton Usage on College Musicians' Perceptions of Ensemble Performance

    Science.gov (United States)

    Silvey, Brian A.; Wacker, Aaron T.; Felder, Logan

    2017-01-01

    The purpose of this study was to investigate the effects of baton usage on college musicians' perceptions of ensemble performance. Two conductors were videotaped while conducting a 1-minute excerpt from either a technical ("Pathfinder of Panama," John Philip Sousa) or lyrical ("Seal Lullaby," Eric Whitacre) piece of concert…

  6. The parietal opercular auditory-sensorimotor network in musicians: A resting-state fMRI study.

    Science.gov (United States)

    Tanaka, Shoji; Kirino, Eiji

    2018-02-01

    Auditory-sensorimotor coupling is critical for musical performance, during which auditory and somatosensory feedback signals are used to ensure desired outputs. Previous studies reported opercular activation in subjects performing or listening to music. A functional connectivity analysis suggested the parietal operculum (PO) as a connector hub that links auditory, somatosensory, and motor cortical areas. We therefore examined whether this PO network differs between musicians and non-musicians. We analyzed resting-state PO functional connectivity with Heschl's gyrus (HG), the planum temporale (PT), the precentral gyrus (preCG), and the postcentral gyrus (postCG) in 35 musicians and 35 non-musicians. In musicians, the left PO exhibited increased functional connectivity with the ipsilateral HG, PT, preCG, and postCG, whereas the right PO exhibited enhanced functional connectivity with the contralateral HG, preCG, and postCG and the ipsilateral postCG. Direct functional connectivity between an auditory area (the HG or PT) and a sensorimotor area (the preCG or postCG) did not significantly differ between the groups. The PO's functional connectivity with auditory and sensorimotor areas is enhanced in musicians relative to non-musicians. We propose that the PO network facilitates musical performance by mediating multimodal integration for modulating auditory-sensorimotor control. Copyright © 2017 The Authors. Published by Elsevier Inc. All rights reserved.

  7. Stimmen des Leis, schillernde Gewebe / Christoph Schlüren

    Index Scriptorium Estoniae

    Schlüren, Christoph

    1995-01-01

    Baltische Werke für Streichorchester: Vol. 1: Balakauskas: Ostrobothnian Symphony, Vasks: Symphonie "Stimmen", Narbutaite: Opus Lugubre; Vol. 2: Kutavicius: Nothern Gates, Vasks: Cantabile, Tüür: Insula Deserta, Rekasius: Music for strings, Werke von Urbaitis und Juozapaitis; Ostrobothnian Chamber Orchestra, Dirigent: Juha Kangas; Finlandia / east-west CD-s 4509-97892-2 und 4509-97893-2. Vasks: Cantabile, Englischhorn-Konzert, Botschaft, Musica dolorosa, Lauda; Riga Philarmonic Orchestra, Dirigent: Kriss Rusmanis; Confer / BMG 75605-51236-2. Eller: Morgenrot, Abendrot, 5 Stücke für Streicher, Geister, Im Schatten und im Sonnenlicht, Elegia; Estonian Symphony Orchestra, Dirigent: Peeter Lilje; Forte FD 0020/2. Tubin: 11. Symphonie, Elegie für Streicher, Raid: 2. Symphonie; Estnisches Staatliches Symphonieorchester, Dirigent: Arvo Volmer; Koch 3-7291-2 H1. Sumera: Symphonien 1-3; Malmö Symphony Orchestra, Dirigent: Paavo Järvi; BIS/Disco-Center 660. Sumera: Klavierkonzert, 4. Symphonie, Musica tenera; Malmö Symphony Orchestra, Dirigent: Paavo Järvi; BIS/Disco-Center 690. Tormis: Werke für Männerchor; Estnischer Nationaler Männerchor, Dirigent: Olev Oja; Forte CDs FD 0011/2 und FD 0019/2 Tutvustatakse uusi heliplaate Baltimaade heliloojate loomingust.

  8. Differential parietal and temporal contributions to music perception in improvising and score-dependent musicians, an fMRI study.

    Science.gov (United States)

    Harris, Robert; de Jong, Bauke M

    2015-10-22

    Using fMRI, cerebral activations were studied in 24 classically-trained keyboard performers and 12 musically unskilled control subjects. Two groups of musicians were recruited: improvising (n=12) and score-dependent (non-improvising) musicians (n=12). While listening to both familiar and unfamiliar music, subjects either (covertly) appraised the presented music performance or imagined they were playing the music themselves. We hypothesized that improvising musicians would exhibit enhanced efficiency of audiomotor transformation reflected by stronger ventral premotor activation. Statistical Parametric Mapping revealed that, while virtually 'playing along׳ with the music, improvising musicians exhibited activation of a right-hemisphere distribution of cerebral areas including posterior-superior parietal and dorsal premotor cortex. Involvement of these right-hemisphere dorsal stream areas suggests that improvising musicians recruited an amodal spatial processing system subserving pitch-to-space transformations to facilitate their virtual motor performance. Score-dependent musicians recruited a primarily left-hemisphere pattern of motor areas together with the posterior part of the right superior temporal sulcus, suggesting a relationship between aural discrimination and symbolic representation. Activations in bilateral auditory cortex were significantly larger for improvising musicians than for score-dependent musicians, suggesting enhanced top-down effects on aural perception. Our results suggest that learning to play a music instrument primarily from notation predisposes musicians toward aural identification and discrimination, while learning by improvisation involves audio-spatial-motor transformations, not only during performance, but also perception. Copyright © 2015 The Authors. Published by Elsevier B.V. All rights reserved.

  9. Brain processing of consonance/dissonance in musicians and controls: a hemispheric asymmetry revisited.

    Science.gov (United States)

    Proverbio, Alice Mado; Orlandi, Andrea; Pisanu, Francesca

    2016-09-01

    It was investigated to what extent musical expertise influences the auditory processing of harmonicity by recording event-related potentials. Thirty-four participants (18 musicians and 16 controls) were asked to listen to hundreds of chords, differing in their degree of consonance, their complexity (from two to six composing sounds) and their range (distance of two adjacent pitches, from quartertones to more than 18 semitone steps). The task consisted of detecting rare targets. An early auditory N1 was observed that was modulated by chord dissonance in both groups. The response was generated in the right medial temporal gyrus (MTG) for consonant chords but in the left MTG for dissonant chords according to swLORETA reconstruction performed. An anterior negativity (N2) was enhanced only in musicians in response to chords featuring quartertones, thus suggesting a greater pitch sensitivity for simultaneous pure tones in the skilled brain. The P300 was affected by the frequency range only in musicians, who also showed a greater sensitivity to sound complexity. A strong left hemispheric specialization for processing quartertones in the left temporal cortex of musicians was observed at N2 level (250-350 ms), which was observed on the right side in controls. Additionally, in controls, widespread activity of the right limbic area was associated with listening to close frequencies causing disturbing beats, possibly suggesting a negative aesthetic appreciation for these stimuli. Overall, the data show a finer and more tuned neural representation of pitch intervals in musicians, linked to a marked specialization of their left temporal cortex (BA21/38). © 2016 Federation of European Neuroscience Societies and John Wiley & Sons Ltd.

  10. Resting state functional connectivity of the ventral auditory pathway in musicians with absolute pitch.

    Science.gov (United States)

    Kim, Seung-Goo; Knösche, Thomas R

    2017-08-01

    Absolute pitch (AP) is the ability to recognize pitch chroma of tonal sound without external references, providing a unique model of the human auditory system (Zatorre: Nat Neurosci 6 () 692-695). In a previous study (Kim and Knösche: Hum Brain Mapp () 3486-3501), we identified enhanced intracortical myelination in the right planum polare (PP) in musicians with AP, which could be a potential site for perceptional processing of pitch chroma information. We speculated that this area, which initiates the ventral auditory pathway, might be crucially involved in the perceptual stage of the AP process in the context of the "dual pathway hypothesis" that suggests the role of the ventral pathway in processing nonspatial information related to the identity of an auditory object (Rauschecker: Eur J Neurosci 41 () 579-585). To test our conjecture on the ventral pathway, we investigated resting state functional connectivity (RSFC) using functional magnetic resonance imaging (fMRI) from musicians with varying degrees of AP. Should our hypothesis be correct, RSFC via the ventral pathway is expected to be stronger in musicians with AP, whereas such group effect is not predicted in the RSFC via the dorsal pathway. In the current data, we found greater RSFC between the right PP and bilateral anteroventral auditory cortices in musicians with AP. In contrast, we did not find any group difference in the RSFC of the planum temporale (PT) between musicians with and without AP. We believe that these findings support our conjecture on the critical role of the ventral pathway in AP recognition. Hum Brain Mapp 38:3899-3916, 2017. © 2017 Wiley Periodicals, Inc. © 2017 Wiley Periodicals, Inc.

  11. Tchaikovsky, P.: Orchestral Suite no. 3 op. 55 / Terry Williams

    Index Scriptorium Estoniae

    Williams, Terry

    1996-01-01

    Uuest heliplaadist "Tchaikovsky, P.: Orchestral Suite no. 3 op. 55. Francesca di Rimini op. 32. Detroit Symphony Orchestra, Neeme Järvi". Chandos CHAN 9 419, distribution Media 7 (CD: 160F). TT: 1h 09'20"

  12. Prokofiev: The Fiery Angel.Gösta Ohlin Vocal Ensemble / David J. Fanning

    Index Scriptorium Estoniae

    Fanning, David J.

    1991-01-01

    Uuest heliplaadist "Prokofiev: The Fiery Angel.Gösta Ohlin Vocal Ensemble, Gothenburg Pro Musica Chamber Choir and Symphony Orchestra, Neeme Järvi" DG CD 431 669-2 GH2 (two discs, nas:118 minutes:DDD)

  13. Shostakovich: Two Fables, Op. 4. Four Songs, Op. 46 / David Nice

    Index Scriptorium Estoniae

    Nice, David

    1994-01-01

    Uuest heliplaadist "Shostakovich: Two Fables, Op. 4. Four Songs, Op. 46. Songs on Verses by British Poets, Op. 140. From Jewish folk poetry, Op. 79. Gothenburg Symphony Orchestra / Neeme Järvi" DG CD 439860-2GH

  14. Bernstein: Prelude, Fugue and Riffs / Michel Parouty

    Index Scriptorium Estoniae

    Parouty, Michel

    1998-01-01

    Uuest heliplaadist "Bernstein: Prelude, Fugue and Riffs. Facsimile. West Side Story - Symphonic Dances. Divertimento. City of Birmingham Symphony Orchestra / Paavo Järvi" Virgin Classics VC5 45295-2 (68 minutes:DDD)

  15. Bernstein: Prelude, Fugue and Riffs / Edward Greenfield

    Index Scriptorium Estoniae

    Greenfield, Edward

    1998-01-01

    Uuest heliplaadist "Bernstein: Prelude, Fugue and Riffs. Facsimile. West Side Story - Symphonic Dances. Divertimento. City of Birmingham Symphony Orchestra / Paavo Järvi. Virgin Classics VC5 45295-2 (68 minutes:DDD)

  16. Prokofiev: Sinfonia Concertante Op. 125 / Pierre-E. Barbier

    Index Scriptorium Estoniae

    Barbier, Pierre-E.

    1998-01-01

    Uuest heliplaadist "Prokofiev: Sinfonia Concertante Op. 125; Miaskowsky: Cello Concerto Op. 66, sellisti Truls Mörk ja City of Birmingham Symphony Orchestra, joht. Paavo Järvi" Virgin Classics 5 45282 2. (1988)

  17. Processing of self-initiated speech-sounds is different in musicians.

    Science.gov (United States)

    Ott, Cyrill G M; Jäncke, Lutz

    2013-01-01

    Musicians and musically untrained individuals have been shown to differ in a variety of functional brain processes such as auditory analysis and sensorimotor interaction. At the same time, internally operating forward models are assumed to enable the organism to discriminate the sensory outcomes of self-initiated actions from other sensory events by deriving predictions from efference copies of motor commands about forthcoming sensory consequences. As a consequence, sensory responses to stimuli that are triggered by a self-initiated motor act are suppressed relative to the same but externally initiated stimuli, a phenomenon referred to as motor-induced suppression (MIS) of sensory cortical feedback. Moreover, MIS in the auditory domain has been shown to be modulated by the predictability of certain properties such as frequency or stimulus onset. The present study compares auditory processing of predictable and unpredictable self-initiated 0-delay speech sounds and piano tones between musicians and musical laymen by means of an event-related potential (ERP) and topographic pattern analysis (TPA) [microstate analysis or evoked potential (EP) mapping] approach. As in previous research on the topic of MIS, the amplitudes of the auditory event-related potential (AEP) N1 component were significantly attenuated for predictable and unpredictable speech sounds in both experimental groups to a comparable extent. On the other hand, AEP N1 amplitudes were enhanced for unpredictable self-initiated piano tones in both experimental groups similarly and MIS did not develop for predictable self-initiated piano tones at all. The more refined EP mapping revealed that the microstate exhibiting a typical auditory N1-like topography was significantly shorter in musicians when speech sounds and piano tones were self-initiated and predictable. In contrast, non-musicians only exhibited shorter auditory N1-like microstate durations in response to self-initiated and predictable piano tones

  18. Musicians' Enhanced Neural Differentiation of Speech Sounds Arises Early in Life: Developmental Evidence from Ages 3 to 30

    Science.gov (United States)

    Strait, Dana L.; O'Connell, Samantha; Parbery-Clark, Alexandra; Kraus, Nina

    2014-01-01

    The perception and neural representation of acoustically similar speech sounds underlie language development. Music training hones the perception of minute acoustic differences that distinguish sounds; this training may generalize to speech processing given that adult musicians have enhanced neural differentiation of similar speech syllables compared with nonmusicians. Here, we asked whether this neural advantage in musicians is present early in life by assessing musically trained and untrained children as young as age 3. We assessed auditory brainstem responses to the speech syllables /ba/ and /ga/ as well as auditory and visual cognitive abilities in musicians and nonmusicians across 3 developmental time-points: preschoolers, school-aged children, and adults. Cross-phase analyses objectively measured the degree to which subcortical responses differed to these speech syllables in musicians and nonmusicians for each age group. Results reveal that musicians exhibit enhanced neural differentiation of stop consonants early in life and with as little as a few years of training. Furthermore, the extent of subcortical stop consonant distinction correlates with auditory-specific cognitive abilities (i.e., auditory working memory and attention). Results are interpreted according to a corticofugal framework for auditory learning in which subcortical processing enhancements are engendered by strengthened cognitive control over auditory function in musicians. PMID:23599166

  19. Musicians' enhanced neural differentiation of speech sounds arises early in life: developmental evidence from ages 3 to 30.

    Science.gov (United States)

    Strait, Dana L; O'Connell, Samantha; Parbery-Clark, Alexandra; Kraus, Nina

    2014-09-01

    The perception and neural representation of acoustically similar speech sounds underlie language development. Music training hones the perception of minute acoustic differences that distinguish sounds; this training may generalize to speech processing given that adult musicians have enhanced neural differentiation of similar speech syllables compared with nonmusicians. Here, we asked whether this neural advantage in musicians is present early in life by assessing musically trained and untrained children as young as age 3. We assessed auditory brainstem responses to the speech syllables /ba/ and /ga/ as well as auditory and visual cognitive abilities in musicians and nonmusicians across 3 developmental time-points: preschoolers, school-aged children, and adults. Cross-phase analyses objectively measured the degree to which subcortical responses differed to these speech syllables in musicians and nonmusicians for each age group. Results reveal that musicians exhibit enhanced neural differentiation of stop consonants early in life and with as little as a few years of training. Furthermore, the extent of subcortical stop consonant distinction correlates with auditory-specific cognitive abilities (i.e., auditory working memory and attention). Results are interpreted according to a corticofugal framework for auditory learning in which subcortical processing enhancements are engendered by strengthened cognitive control over auditory function in musicians. © The Author 2013. Published by Oxford University Press. All rights reserved. For Permissions, please e-mail: journals.permissions@oup.com.

  20. Thoracic outlet syndrome affecting high-performance musicians playing bowed string instruments.

    Science.gov (United States)

    Demaree, Christopher J; Wang, Kevin; Lin, Peter H

    2017-06-01

    Thoracic outlet syndrome, a condition due to neurovascular compression in the upper shoulder region, can be caused by chronic repetitive activity of the upper extremities. Studies have linked upper extremity musculoskeletal disorders to high-performance musicians who play bowed string instruments such as the violin or viola. We report herein a case series of five elite musicians, including three violinists and two violaists, who developed neurogenic thoracic outlet syndrome following years of intense practice. Successful surgical treatment including first rib resection, scalenectomy, and brachial plexus neurolysis was performed in all patients. All patients were able to resume their musical career following surgical treatment. Our report represents the first description of thoracic outlet syndrome in high-performance bowed string instrumentalists. Clinicians should be aware of thoracic outlet syndrome as a differential diagnosis when treating string instrumentalists with upper extremity musculoskeletal ailments.

  1. Cathodal Transcranial Direct Current Stimulation Improves Focal Hand Dystonia in Musicians: A Two-Case Study

    Directory of Open Access Journals (Sweden)

    Sara Marceglia

    2017-09-01

    Full Text Available Focal hand dystonia (FHD in musicians is a movement disorder causing abnormal movements and irregularities in playing. Since weak electrical currents applied to the brain induce persistent excitability changes in humans, cathodal tDCS was proposed as a possible non-invasive approach for modulating cortical excitability in patients with FHD. However, the optimal targets and modalities have still to be determined. In this pilot study, we delivered cathodal (2 mA, anodal (2 mA and sham tDCS over the motor areas bilaterally for 20 min daily for five consecutive days in two musicians with FHD. After cathodal tDCS, both patients reported a sensation of general wellness and improved symptoms of FHD. In conclusion, our pilot results suggest that cathodal tDCS delivered bilaterally over motor-premotor (M-PM cortex for 5 consecutive days may be effective in improving symptoms in FHD.

  2. Kinetic characteristics of the gait of a musician carrying or not his instrument

    Directory of Open Access Journals (Sweden)

    Carlos Bolli Mota

    2009-01-01

    Full Text Available The integrity of the locomotor system can be compromised by the transport of certain objects, especially when done in an inadequate manner. Due to their weight and size, the transport of musical instruments can contribute to body dysfunctions in musicians who frequently have to carry their instruments, influencing balance andbody posture. Thus, the soil reaction force was investigated during the gait of a musician carrying or not his instrument. Two AMTI (Advanced Mechanical Technologies, Inc. platforms were used for kinetic data acquisition. A total of 40 measurements were obtainedfor gait and balance: 20 without carrying the instrument and 20 while carrying the instrument. The t test showed significant differences between the two situations for all variables analyzed. The results suggest that the locomotor system suffers alterationswhen carrying any kind of load, as was the case here in which the subject carried 7.75% of his own weight.

  3. The Viola and its Sounds: Exploration of Expressive Aspects in the Concerto for Viola and Orchestra by Antônio Borges-Cunha

    Directory of Open Access Journals (Sweden)

    Ricardo Lobo Kubala

    2012-12-01

    Full Text Available Based on observations gained while preparing for the performance of the Concerto for Viola and Orchestra by Antônio Borges-Cunha (2007 the aim is to investigate how the composer explored the sonorous possibilities of the solo viola in this work by questioning the relationship between the composer’s stylistic attributes and the fundamentals of instrumental technique. In order to enhance the means of discussing the topic, concepts like “tradition”– as it relates to the viola specifically – and “timbre” are also analyzed. In conclusion, there is a predominance of writing that provokes an atmosphere associated to the idea of tradition and that, even in passages where the prevailing sonority moves away from this notion, instrumental technique stays within tradition.

  4. Mark Bowden and Owen Sheers present "Creation" [working title]: a new musical and poetic collaborative project for chorus, soloists and orchestra

    CERN Document Server

    2013-01-01

    "Creation" is a new collaboration between Mark Bowden, in his role as BBC National Orchestra of Wales’ Resident Composer, and the poet and novelist Owen Sheers.   Taking Haydn's 1798 work "The Creation" as a point of departure, they plan to create a new cantata for the digital age exploring the meaning of creation in the twenty-first century. Through engagement with developments in biology and physics they plan to create a new work incorporating poetry and music that will explore the latest ideas concerning the creation of matter and the emergence of life in the universe, whilst also delving into the human side of the brilliant minds that are currently working to uncover these secrets of the universe. More information is available here. Meet them at the CERN Library (bldg. 52 1-052) on Wednesday 2 October at 4 p.m. * Coffee will be served at 3.30 p.m.*

  5. Sound Practice—improving occupational health and safety for professional orchestral musicians in Australia

    OpenAIRE

    Ackermann, Bronwen J.; Kenny, Dianna T.; O'Brien, Ian; Driscoll, Tim R.

    2014-01-01

    The Sound Practice Project is a 5-year study involving baseline evaluation, development, and implementation of musician-specific work health and safety initiatives. A cross-sectional population physical and psychological survey and physical assessment were conducted at the same time, with an auditory health assessment conducted later. The results were used to guide the development of a series of targeted interventions, encompassing physical, psychological, and auditory health components. This...

  6. Timing skills and expertise: discrete and continuous timed movements among musicians and athletes.

    Science.gov (United States)

    Braun Janzen, Thenille; Thompson, William Forde; Ammirante, Paolo; Ranvaud, Ronald

    2014-01-01

    Movement-based expertise relies on precise timing of movements and the capacity to predict the timing of events. Music performance involves discrete rhythmic actions that adhere to regular cycles of timed events, whereas many sports involve continuous movements that are not timed in a cyclical manner. It has been proposed that the precision of discrete movements relies on event timing (clock mechanism), whereas continuous movements are controlled by emergent timing. We examined whether movement-based expertise influences the timing mode adopted to maintain precise rhythmic actions. Timing precision was evaluated in musicians, athletes and control participants. Discrete and continuous movements were assessed using finger-tapping and circle-drawing tasks, respectively, based on the synchronization-continuation paradigm. In Experiment 1, no auditory feedback was provided in the continuation phase of the trials, whereas in Experiment 2 every action triggered a feedback tone. Analysis of precision in the continuation phase indicated that athletes performed significantly better than musicians and controls in the circle-drawing task, whereas musicians were more precise than controls in the finger tapping task. Interestingly, musicians were also more precise than controls in the circle-drawing task. RESULTS also showed that the timing mode adopted was dependent on expertise and the presence of auditory feedback. RESULTS showed that movement-based expertise is associated with enhanced timing, but these effects depend on the nature of the training. Expertise was found to influence the timing strategy adopted to maintain precise rhythmic movements, suggesting that event and emergent timing mechanisms are not strictly tied to specific tasks, but can both be adopted to achieve precise timing.

  7. Timing skills and expertise: discrete and continuous timed movements among musicians and athletes

    Directory of Open Access Journals (Sweden)

    Thenille eBraun Janzen

    2014-12-01

    Full Text Available Introduction: Movement-based expertise relies on precise timing of movements and the capacity to predict the timing of events. Music performance involves discrete rhythmic actions that adhere to regular cycles of timed events, whereas many sports involve continuous movements that are not timed in a cyclical manner. It has been proposed that the precision of discrete movements relies on event timing (clock mechanism, whereas continuous movements are controlled by emergent timing. We examined whether movement-based expertise influences the timing mode adopted to maintain precise rhythmic actions. Materials and Method: Timing precision was evaluated in musicians, athletes and control participants. Discrete and continuous movements were assessed using finger-tapping and circle-drawing tasks, respectively, based on the synchronization-continuation paradigm. In Experiment 1, no auditory feedback was provided in the continuation phase of the trials, whereas in Experiment 2 every action triggered a feedback tone. Results: Analysis of precision in the continuation phase indicated that athletes performed significantly better than musicians and controls in the circle-drawing task, whereas musicians were more precise than controls in the finger tapping task. Interestingly, musicians were also more precise than controls in the circle-drawing task. Results also showed that the timing mode adopted was dependent on expertise and the presence of auditory feedback. Discussion: Results showed that movement-based expertise is associated with enhanced timing, but these effects depend on the nature of the training. Expertise was found to influence the timing strategy adopted to maintain precise rhythmic movements, suggesting that event and emergent timing mechanisms are not strictly tied to specific tasks, but can both be adopted to achieve precise timing.

  8. Audio-visuomotor processing in the Musician's brain: an ERP study on professional violinists and clarinetists

    OpenAIRE

    Mado Proverbio, Alice; Calbi, Marta; Manfredi, Mirella; Zani, Alberto

    2014-01-01

    The temporal dynamics of brain activation during visual and auditory perception of congruent vs. incongruent musical video clips was investigated in 12 musicians from the Milan Conservatory of music and 12 controls. 368 videos of a clarinetist and a violinist playing the same score with their instruments were presented. The sounds were similar in pitch, intensity, rhythm and duration. To produce an audiovisual discrepancy, in half of the trials, the visual information was incongruent with the...

  9. Processing of self-initiated speech-sounds is different in musicians

    Directory of Open Access Journals (Sweden)

    Cyrill Guy Martin Ott

    2013-02-01

    Full Text Available Musicians and musically untrained individuals have been shown to differ in a variety of functional brain processes such as auditory analysis and sensorimotor interaction. At the same time, internally operating forward models are assumed to enable the organism to discriminate the sensory outcomes of self-initiated actions from other sensory events by deriving predictions from efference copies of motor commands about forthcoming sensory consequences. As a consequence, sensory responses to stimuli that are triggered by a self-initiated motor act are suppressed relative to the same but externally-initiated stimuli, a phenomenon referred to as motor-induced suppression (MIS of sensory cortical feedback. Moreover, MIS in the auditory domain has been shown to be modulated by the predictability of certain properties such as frequency or stimulus onset. The present study compares auditory processing of predictable and unpredictable self-initiated zero-delay speech sounds and piano tones between musicians and musical laymen by means of an event-related potential (ERP and topographic pattern analysis (microstate analysis or EP mapping approach. Taken together, our findings suggest that besides the known effect of MIS, internally operating forward models also facilitate early acoustic analysis of complex tones by means of faster processing time as indicated by shorter auditory N1-like microstate durations in the first ~ 200 ms after stimulus onset. In addition, musicians seem to profit from this facilitation also during the analysis of speech sounds as indicated by comparable auditory N1-like microstate duration patterns between speech and piano conditions. In contrast, non-musicians did not show such an effect.

  10. Timing skills and expertise: discrete and continuous timed movements among musicians and athletes

    Science.gov (United States)

    Braun Janzen, Thenille; Thompson, William Forde; Ammirante, Paolo; Ranvaud, Ronald

    2014-01-01

    Introduction: Movement-based expertise relies on precise timing of movements and the capacity to predict the timing of events. Music performance involves discrete rhythmic actions that adhere to regular cycles of timed events, whereas many sports involve continuous movements that are not timed in a cyclical manner. It has been proposed that the precision of discrete movements relies on event timing (clock mechanism), whereas continuous movements are controlled by emergent timing. We examined whether movement-based expertise influences the timing mode adopted to maintain precise rhythmic actions. Materials and Method: Timing precision was evaluated in musicians, athletes and control participants. Discrete and continuous movements were assessed using finger-tapping and circle-drawing tasks, respectively, based on the synchronization-continuation paradigm. In Experiment 1, no auditory feedback was provided in the continuation phase of the trials, whereas in Experiment 2 every action triggered a feedback tone. Results: Analysis of precision in the continuation phase indicated that athletes performed significantly better than musicians and controls in the circle-drawing task, whereas musicians were more precise than controls in the finger tapping task. Interestingly, musicians were also more precise than controls in the circle-drawing task. Results also showed that the timing mode adopted was dependent on expertise and the presence of auditory feedback. Discussion: Results showed that movement-based expertise is associated with enhanced timing, but these effects depend on the nature of the training. Expertise was found to influence the timing strategy adopted to maintain precise rhythmic movements, suggesting that event and emergent timing mechanisms are not strictly tied to specific tasks, but can both be adopted to achieve precise timing. PMID:25566154

  11. Preference of reverberation time for musicians and audience of the Javanese traditional gamelan music

    Science.gov (United States)

    Suyatno; Tjokronegoro, H. A.; Merthayasa, I. G. N.; Supanggah, R.

    2016-11-01

    This paper presents results of an investigation of room acoustic parameters those are appropriated particularly to perform a Javanese gamelan. The acoustic parameters were obtained by analysing simulated sounds of performance. Those simulated sounds were obtained by sound convolution technique of a dry sound signal of Javanese gamelan performance with impulse responses rooms whose appropriated reverberation time. The reverberation time were varied between 1.0s to 1.8s, those belong to the characteristic of Pendopo Mangkunegaran Surakarta. In this case, Pendopo Mangkunegaran is assumed as one of the most suitable concert halls for Javanese gamelan performance. To obtain the acoustic parameters, we used a psycho-acoustics measurement based on paired comparison test that having different of acoustic parameters to determine the most comfortable one to majority of respondents. The respondents who have participated in this research composed of a group of professional musicians of Javanese gamelan and groups of audience who are not musician, nevertheless part of them were familiar with Javanese gamelan music. The comparison test gave results and showed majority of respondents of group of musicians had a notion sound reverberation time of 1.2s was most comfortable. This corresponds to +6.2dB, clarity and 74% definition. It means the appropriate acoustic condition allows musicians to recognize and distinguish clearly sound of each instrument being played. Meanwhile, group of audience had a notion reverberation time in a range of 1.2s - 1.6s was most comfortable. This range of reverberation time corresponds to +4dB to +6.2dB of clarity, and 66% to 74% of definition.

  12. Common hemisphericity of language and music in a musician. A case report.

    Science.gov (United States)

    Hofman, S; Klein, C; Arlazoroff, A

    1993-06-01

    Aphasia coupled with amusia is reported in a 73-year-old male musician who was a lawyer by profession. This condition followed an ischemic stroke in the lateral aspect of the parieto-occipital region of the left hemisphere. The patient's music production exhibits jargon amusia, similar to that in his verbal production. This case supports the thesis that language and music may share a common hemisphere.

  13. Amplified induced neural oscillatory activity predicts musicians' benefits in categorical speech perception.

    Science.gov (United States)

    Bidelman, Gavin M

    2017-04-21

    Event-related brain potentials (ERPs) reveal musical experience refines neural encoding and confers stronger categorical perception (CP) and neural organization for speech sounds. In addition to evoked brain activity, the human EEG can be decomposed into induced (non-phase-locked) responses whose various frequency bands reflect different mechanisms of perceptual-cognitive processing. Here, we aimed to clarify which spectral properties of these neural oscillations are most prone to music-related neuroplasticity and which are linked to behavioral benefits in the categorization of speech. We recorded electrical brain activity while musicians and nonmusicians rapidly identified speech tokens from a sound continuum. Time-frequency analysis parsed evoked and induced EEG into alpha- (∼10Hz), beta- (∼20Hz), and gamma- (>30Hz) frequency bands. We found that musicians' enhanced behavioral CP was accompanied by improved evoked speech responses across the frequency spectrum, complementing previously observed enhancements in evoked potential studies (i.e., ERPs). Brain-behavior correlations implied differences in the underlying neural mechanisms supporting speech CP in each group: modulations in induced gamma power predicted the slope of musicians' speech identification functions whereas early evoked alpha activity predicted behavior in nonmusicians. Collectively, findings indicate that musical training tunes speech processing via two complementary mechanisms: (i) strengthening the formation of auditory object representations for speech signals (gamma-band) and (ii) improving network control and/or the matching of sounds to internalized memory templates (alpha/beta-band). Both neurobiological enhancements may be deployed behaviorally and account for musicians' benefits in the perceptual categorization of speech. Copyright © 2017 IBRO. Published by Elsevier Ltd. All rights reserved.

  14. Isaac Albeniz (1860-1909): Spanish musician who died of chronic renal disease.

    Science.gov (United States)

    García-Nieto, Víctor M; Peralta-Aros, Carolina

    2013-02-01

    Isaac Albéniz was a Spanish musician and pianist who was best known in France and England. One of his last works for piano, the suite Iberia, is well-known and identifies his country of origin. He died with terminal uraemia following longstanding chronic intestinal and kidney symptoms. Suggestions as to pathology include amyloidosis complicated by kidney stones and hypertension that sometimes manifested itself in the form of hypertensive crisis, accompanied by obesity.

  15. Cerebral activations related to audition-driven performance imagery in professional musicians.

    Directory of Open Access Journals (Sweden)

    Robert Harris

    Full Text Available Functional Magnetic Resonance Imaging (fMRI was used to study the activation of cerebral motor networks during auditory perception of music in professional keyboard musicians (n = 12. The activation paradigm implied that subjects listened to two-part polyphonic music, while either critically appraising the performance or imagining they were performing themselves. Two-part polyphonic audition and bimanual motor imagery circumvented a hemisphere bias associated with the convention of playing the melody with the right hand. Both tasks activated ventral premotor and auditory cortices, bilaterally, and the right anterior parietal cortex, when contrasted to 12 musically unskilled controls. Although left ventral premotor activation was increased during imagery (compared to judgment, bilateral dorsal premotor and right posterior-superior parietal activations were quite unique to motor imagery. The latter suggests that musicians not only recruited their manual motor repertoire but also performed a spatial transformation from the vertically perceived pitch axis (high and low sound to the horizontal axis of the keyboard. Imagery-specific activations in controls were seen in left dorsal parietal-premotor and supplementary motor cortices. Although these activations were less strong compared to musicians, this overlapping distribution indicated the recruitment of a general 'mirror-neuron' circuitry. These two levels of sensori-motor transformations point towards common principles by which the brain organizes audition-driven music performance and visually guided task performance.

  16. Assisted Protection Headphone Proposal to Prevent Chronic Exposure to Percussion Instruments on Musicians

    Directory of Open Access Journals (Sweden)

    Lorena Parra

    2018-01-01

    Full Text Available The effects of chronic exposure to high sound pressure levels (SPLs are widely studied in the industry environment. However, the way that SPLs affect music students has not been thoroughly examined. In this paper, we study the SPL exposure of batucada students and we propose an assisted protection headphone as a part of e-health system. We measured the SPL reached during a regular percussion class. Pure-tone audiometries were performed to a set of percussion students. The gathered data were statistically analyzed. The assisted protection headphones and their operation are detailed and tested during a regular class. Our results show that 35% of the musicians present with a noise-induced hearing loss, considered as two frequencies with hearing loss of 25 dB or more or one frequency with a hearing loss of 30 dB or more. Our data also shows that those students that do not use any protection have a greater hearing loss. However, the students that use protection headphones are also suffering hearing loss. There might be a problem in the way that musicians are using the protection headphones. Our assisted protection headphones as a part of e-health measures can diminish the negative effects of percussion instruments for musicians.

  17. Grouping of sequential sounds--an event-related potential study comparing musicians and nonmusicians.

    Science.gov (United States)

    van Zuijen, Titia L; Sussman, Elyse; Winkler, István; Näätänen, Risto; Tervaniemi, Mari

    2004-03-01

    It is believed that auditory processes governing grouping and segmentation of sounds are automatic and represent universal aspects of music perception (e.g., they are independent of the listener's musical skill). The present study challenges this view by showing that musicians and nonmusicians differ in their ability to preattentively group consecutive sounds. We measured event-related potentials (ERPs) from professional musicians and nonmusicians who were presented with isochronous tone sequences that they ignored. Four consecutive tones in a sequence could be grouped according to either pitch similarity or good continuation of pitch. Occasionally, the tone-group length was violated by a deviant tone. The mismatch negativity (MMN) was elicited to the deviants in both subject groups when the sounds could be grouped based on pitch similarity. In contrast, MMN was only elicited in musicians when the sounds could be grouped according to good continuation of pitch. These results suggest that some forms of auditory grouping depend on musical skill and that not all aspects of auditory grouping are universal.

  18. Hearing Health in College Instrumental Musicians and Prevention of Hearing Loss.

    Science.gov (United States)

    Olson, Anna D; Gooding, Lori F; Shikoh, Fara; Graf, Julie

    2016-03-01

    College musicians exhibit greater declines in hearing than the general population and are at particular risk because they rehearse and perform daily in loud environments. Also, they engage in use of personal listening devices which increases the amount of "exposure" time. Despite increased risk, many do not use hearing protection devices (HPD). The purpose of this study was to (1) to identify the present level of education about hearing health, (2) identify the perceived advantages and disadvantages of using HPD, and (3) evaluate results among different musical instrument groups. A mixed-methods group design was used including both quantitative and qualitative instruments. SPSS was used to generate descriptive statistics, and non-parametric statistical analysis was performed on quantitative data. NVivo software was used to evaluate qualitative responses. Of the 90 college instrumental music students who participated, 12% reported a history of hearing loss, and over one-third reported tinnitus. Seventy-seven percent of participants had never received any training about hearing health and only a small percentage of students used HPD. The most cited reason for lack of protection use was its negative impact on sound quality. However, group differences were noted between brass, woodwind, and percussion musicians in terms of HPD uptake. Improving the type of information disseminated to college musicians may reduce the risk of ear-related deficits. Noise dosage information, HPD information, and prevention education grounded in theories like the Health Belief Model may increase awareness and promote greater use of HPDs in this population.

  19. Secrets of virtuoso: neuromuscular attributes of motor virtuosity in expert musicians

    Science.gov (United States)

    Furuya, Shinichi; Oku, Takanori; Miyazaki, Fumio; Kinoshita, Hiroshi

    2015-10-01

    Musical performance requires extremely fast and dexterous limb movements. The underlying biological mechanisms have been an object of interest among scientists and non-scientists for centuries. Numerous studies of musicians and non-musicians have demonstrated that neuroplastic adaptations through early and deliberate musical training endowed superior motor skill. However, little has been unveiled about what makes inter-individual differences in motor skills among musicians. Here we determined the attributes of inter-individual differences in the maximum rate of repetitive piano keystrokes in twenty-four pianists. Among various representative factors of neuromuscular functions, anatomical characteristics, and training history, a stepwise multiple regression analysis and generalized linear model identified two predominant predictors of the maximum rate of repetitive piano keystrokes; finger tapping rate and muscular strength of the elbow extensor. These results suggest a non-uniform role of individual limb muscles in the production of extremely fast repetitive multi-joint movements. Neither age of musical training initiation nor the amount of extensive musical training before age twenty was a predictor. Power grip strength was negatively related to the maximum rate of piano keystrokes only during the smallest tone production. These findings highlight the importance of innate biological nature and explicit training for motor virtuosity.

  20. Non-musicians' perception of phrase boundaries in music: A cross-cultural ERP study.

    Science.gov (United States)

    Nan, Yun; Knösche, Thomas R; Friederici, Angela D

    2009-09-01

    The present study investigates neural responses to musical phrase boundaries in subjects without formal musical training, with special emphasis on the issue of cultural familiarity (i.e., the relation between the enculturation of the subjects and the cultural style of the presented music). German and Chinese non-musicians listened to Western and Chinese melodies which contained manipulated phrase boundaries while event-related potentials (ERP) were measured. The behavioral data clearly showed that melodic phrase boundary perception is influenced by cultural familiarity. The ERP revealed a series of positive and negative peaks with latencies between 40ms and 550ms relative to the phrase boundary offset, all of which were influenced by the phrase melodic structure type. In contrast, cultural familiarity only influenced phrase boundary processing at longer latencies, reflected by a P3-like component peaking at 280ms. At about 450-600ms post phrase boundary offset, we observed a slightly right-lateralized music closure positive shift (CPS), which has been reported as a marker for phrase boundary processing in musicians in earlier studies. This study demonstrates for the first time that the music CPS can be elicited in non-musicians, suggesting that the underlying phrase boundary processing does not require formal musical training.

  1. Musicians demonstrate experience-dependent brainstem enhancement of musical scale features within continuously gliding pitch.

    Science.gov (United States)

    Bidelman, Gavin M; Gandour, Jackson T; Krishnan, Ananthanarayan

    2011-10-10

    In contrast to language, where pitch patterns consist of continuous and curvilinear contours, musical pitch consists of relatively discrete, stair-stepped sequences of notes. Behavioral and neurophysiological studies suggest that both tone-language and music experience enhance the representation of pitch cues associated with a listener's domain of expertise, e.g., curvilinear pitch in language, discrete scale steps in music. We compared brainstem frequency-following responses (FFRs) of English-speaking musicians (musical pitch experience) and native speakers of Mandarin Chinese (linguistic pitch experience) elicited by rising and falling tonal sweeps that are exemplary of Mandarin tonal contours but uncharacteristic of the pitch patterns typically found in music. In spite of musicians' unfamiliarity with such glides, we find that their brainstem FFRs show enhancement of the stimulus where the curvilinear sweep traverses discrete notes along the diatonic musical scale. This enhancement was note specific in that it was not observed immediately preceding or following the scale tone of interest (passing note). No such enhancements were observed in Chinese listeners. These findings suggest that the musician's brainstem may be differentially tuned by long-term exposure to the pitch patterns inherent to music, extracting pitch in relation to a fixed, hierarchical scale. Copyright © 2011 Elsevier Ireland Ltd. All rights reserved.

  2. "Doctor Jazz": Lessons that medical professionals can learn from jazz musicians.

    Science.gov (United States)

    van Ark, Allard E; Wijnen-Meijer, Marjo

    2018-04-24

    The worlds of a physician and a jazz musician seem entirely different. Various studies, however, relating the concepts behind jazz music to medical practice and education, have been published. The aim of this essayistic review is to summarize previously described concepts behind jazz music and its required artistic skills that could be translated to medicine, encouraging doctors, medical students and medical educators to see their professional environment from a different perspective. A systematic search was conducted using PubMed, Embase, and ERIC databases, combining keywords with regard to jazz, medicine and medical education. Background information concerning jazz music and several jazz musicians was retrieved through an additional nonsystematic search using Google Scholar. Lessons with regard to improvisational skills, both in communication with patients and in a technical context, communication skills, leadership, interprofessional teamwork and coping with errors are presented. Doctors and medical students could learn various lessons from jazz music performance and jazz musicians. The potential and the possibilities of implementing jazz into the medical curriculum, in order to contribute to the development of professional skills and attitudes of medical students, could be explored further.

  3. Virtual Reality Exposure Training for Musicians: Its Effect on Performance Anxiety and Quality.

    Science.gov (United States)

    Bissonnette, Josiane; Dubé, Francis; Provencher, Martin D; Moreno Sala, Maria T

    2015-09-01

    Music performance anxiety affects numerous musicians, with many of them reporting impairment of performance due to this problem. This exploratory study investigated the effects of virtual reality exposure training on students with music performance anxiety. Seventeen music students were randomly assigned to a control group (n=8) or a virtual training group (n=9). Participants were asked to play a musical piece by memory in two separate recitals within a 3-week interval. Anxiety was then measured with the Personal Report of Confidence as a Performer Scale and the S-Anxiety scale from the State-Trait Anxiety Inventory (STAI-Y). Between pre- and post-tests, the virtual training group took part in virtual reality exposure training consisting of six 1-hour long sessions of virtual exposure. The results indicate a significant decrease in performance anxiety for musicians in the treatment group for those with a high level of state anxiety, for those with a high level of trait anxiety, for women, and for musicians with high immersive tendencies. Finally, between the pre- and post-tests, we observed a significant increase in performance quality for the experimental group, but not for the control group.

  4. Musicians have enhanced audiovisual multisensory binding: experience-dependent effects in the double-flash illusion.

    Science.gov (United States)

    Bidelman, Gavin M

    2016-10-01

    Musical training is associated with behavioral and neurophysiological enhancements in auditory processing for both musical and nonmusical sounds (e.g., speech). Yet, whether the benefits of musicianship extend beyond enhancements to auditory-specific skills and impact multisensory (e.g., audiovisual) processing has yet to be fully validated. Here, we investigated multisensory integration of auditory and visual information in musicians and nonmusicians using a double-flash illusion, whereby the presentation of multiple auditory stimuli (beeps) concurrent with a single visual object (flash) induces an illusory perception of multiple flashes. We parametrically varied the onset asynchrony between auditory and visual events (leads and lags of ±300 ms) to quantify participants' "temporal window" of integration, i.e., stimuli in which auditory and visual cues were fused into a single percept. Results show that musically trained individuals were both faster and more accurate at processing concurrent audiovisual cues than their nonmusician peers; nonmusicians had a higher susceptibility for responding to audiovisual illusions and perceived double flashes over an extended range of onset asynchronies compared to trained musicians. Moreover, temporal window estimates indicated that musicians' windows (listening skills, improving multimodal processing and the integration of multiple sensory systems in a domain-general manner.

  5. Perceptual evaluation of violins: A psycholinguistic analysis of preference verbal descriptions by experienced musicians.

    Science.gov (United States)

    Saitis, Charalampos; Fritz, Claudia; Scavone, Gary P; Guastavino, Catherine; Dubois, Danièle

    2017-04-01

    In this paper, how the notion of violin quality is conveyed in spontaneous verbalizations by experienced violinists during preference judgments is investigated. The aims of the study were to better understand how musicians conceptualize violin quality, what aspects of the sound and the playing experience are essential, and what associations are formed between perceptual evaluation and physical description. Upon comparing violins of varying make and age, players were interviewed about their preferences using open-ended questions. Concepts of violin quality were identified and categorized based on the syntactic and linguistic analysis of musicians' responses. While perceived variations in how a violin sounds and feels, and consequently conceptualization structures, rely on the variations in style and expertise of different violinists, the broader semantic categories emerging from sensory descriptions remain common across performers with diverse musical profiles, reflecting a shared perception of physical parameter patterns that allowed the development of a musician-driven framework for understanding how the dynamic behavior of a violin might relate to its perceived quality. Implications for timbre perception and the crossmodal audio-tactile sensation of sound in music performance are discussed.

  6. Inhibitory control in bilinguals and musicians: event related potential (ERP evidence for experience-specific effects.

    Directory of Open Access Journals (Sweden)

    Sylvain Moreno

    Full Text Available Bilinguals and musicians exhibit behavioral advantages on tasks with high demands on executive functioning, particularly inhibitory control, but the brain mechanisms supporting these differences are unclear. Of key interest is whether these forms of experience influence cognition through similar or distinct information processing mechanisms. Here, we recorded event-related potentials (ERPs in three groups - bilinguals, musicians, and controls - who completed a visual go-nogo task that involved the withholding of key presses to rare targets. Participants in each group achieved similar accuracy rates and responses times but the analysis of cortical responses revealed significant differences in ERP waveforms. Success in withholding a prepotent response was associated with enhanced stimulus-locked N2 and P3 wave amplitude relative to go trials. For nogo trials, there were altered timing-specific ERP differences and graded amplitude differences observed in the neural responses across groups. Specifically, musicians showed an enhanced early P2 response accompanied by reduced N2 amplitude whereas bilinguals showed increased N2 amplitude coupled with an increased late positivity wave relative to controls. These findings demonstrate that bilingualism and music training have differential effects on the brain networks supporting executive control over behavior.

  7. Cerebral activations related to audition-driven performance imagery in professional musicians.

    Science.gov (United States)

    Harris, Robert; de Jong, Bauke M

    2014-01-01

    Functional Magnetic Resonance Imaging (fMRI) was used to study the activation of cerebral motor networks during auditory perception of music in professional keyboard musicians (n = 12). The activation paradigm implied that subjects listened to two-part polyphonic music, while either critically appraising the performance or imagining they were performing themselves. Two-part polyphonic audition and bimanual motor imagery circumvented a hemisphere bias associated with the convention of playing the melody with the right hand. Both tasks activated ventral premotor and auditory cortices, bilaterally, and the right anterior parietal cortex, when contrasted to 12 musically unskilled controls. Although left ventral premotor activation was increased during imagery (compared to judgment), bilateral dorsal premotor and right posterior-superior parietal activations were quite unique to motor imagery. The latter suggests that musicians not only recruited their manual motor repertoire but also performed a spatial transformation from the vertically perceived pitch axis (high and low sound) to the horizontal axis of the keyboard. Imagery-specific activations in controls were seen in left dorsal parietal-premotor and supplementary motor cortices. Although these activations were less strong compared to musicians, this overlapping distribution indicated the recruitment of a general 'mirror-neuron' circuitry. These two levels of sensori-motor transformations point towards common principles by which the brain organizes audition-driven music performance and visually guided task performance.

  8. Electrophysiological evidences demonstrating differences in brain functions between nonmusicians and musicians.

    Science.gov (United States)

    Zhang, Li; Peng, Weiwei; Chen, Jie; Hu, Li

    2015-09-04

    Long-term music training can improve sensorimotor skills, as playing a musical instrument requires the functional integration of information related to multimodal sensory perception and motor execution. This functional integration often leads to functional reorganization of cerebral cortices, including auditory, visual, and motor areas. Moreover, music appreciation can modulate emotions (e.g., stress relief), and long-term music training can enhance a musician's self-control and self-evaluation ability. Therefore, the neural processing of music can also be related to certain higher brain cognitive functions. However, evidence demonstrating that long-term music training modulates higher brain functions is surprisingly rare. Here, we aimed to comprehensively explore the neural changes induced by long-term music training by assessing the differences of transient and quasi-steady-state auditory-evoked potentials between nonmusicians and musicians. We observed that compared to nonmusicians, musicians have (1) larger high-frequency steady-state responses, which reflect the auditory information processing within the sensory system, and (2) smaller low-frequency vertex potentials, which reflect higher cognitive information processing within the novelty/saliency detection system. Therefore, we speculate that long-term music training facilitates "bottom-up" auditory information processing in the sensory system and enhances "top-down" cognitive inhibition of the novelty/saliency detection system.

  9. Intracortical myelination in musicians with absolute pitch: Quantitative morphometry using 7‐T MRI

    Science.gov (United States)

    Knösche, Thomas R.

    2016-01-01

    Abstract Absolute pitch (AP) is known as the ability to recognize and label the pitch chroma of a given tone without external reference. Known brain structures and functions related to AP are mainly of macroscopic aspects. To shed light on the underlying neural mechanism of AP, we investigated the intracortical myeloarchitecture in musicians with and without AP using the quantitative mapping of the longitudinal relaxation rates with ultra‐high‐field magnetic resonance imaging at 7 T. We found greater intracortical myelination for AP musicians in the anterior region of the supratemporal plane, particularly the medial region of the right planum polare (PP). In the same region of the right PP, we also found a positive correlation with a behavioral index of AP performance. In addition, we found a positive correlation with a frequency discrimination threshold in the anterolateral Heschl's gyrus in the right hemisphere, demonstrating distinctive neural processes of absolute recognition and relative discrimination of pitch. Regarding possible effects of local myelination in the cortex and the known importance of the anterior superior temporal gyrus/sulcus for the identification of auditory objects, we argue that pitch chroma may be processed as an identifiable object property in AP musicians. Hum Brain Mapp 37:3486–3501, 2016. © 2016 Wiley Periodicals, Inc. PMID:27160707

  10. Intracortical myelination in musicians with absolute pitch: Quantitative morphometry using 7-T MRI.

    Science.gov (United States)

    Kim, Seung-Goo; Knösche, Thomas R

    2016-10-01

    Absolute pitch (AP) is known as the ability to recognize and label the pitch chroma of a given tone without external reference. Known brain structures and functions related to AP are mainly of macroscopic aspects. To shed light on the underlying neural mechanism of AP, we investigated the intracortical myeloarchitecture in musicians with and without AP using the quantitative mapping of the longitudinal relaxation rates with ultra-high-field magnetic resonance imaging at 7 T. We found greater intracortical myelination for AP musicians in the anterior region of the supratemporal plane, particularly the medial region of the right planum polare (PP). In the same region of the right PP, we also found a positive correlation with a behavioral index of AP performance. In addition, we found a positive correlation with a frequency discrimination threshold in the anterolateral Heschl's gyrus in the right hemisphere, demonstrating distinctive neural processes of absolute recognition and relative discrimination of pitch. Regarding possible effects of local myelination in the cortex and the known importance of the anterior superior temporal gyrus/sulcus for the identification of auditory objects, we argue that pitch chroma may be processed as an identifiable object property in AP musicians. Hum Brain Mapp 37:3486-3501, 2016. © 2016 Wiley Periodicals, Inc. © 2016 The Authors Human Brain Mapping Published by Wiley Periodicals, Inc.

  11. Exposure to music and noise-induced hearing loss (NIHL) among professional pop/rock/jazz musicians.

    Science.gov (United States)

    Halevi-Katz, Dana N; Yaakobi, Erez; Putter-Katz, Hanna

    2015-01-01

    Noise-induced hearing loss (NIHL) has been extensively studied in industrial work environments. With the advent of new technologies, loud music has been increasingly affecting listeners outside of the industrial setting. Most research on the effects of music and hearing loss has focused on classical musicians. The purpose of the current study was to examine the relationship between the amount of experience a professional pop/rock/jazz musician has and objective and subjective variables of the musician's hearing loss. This study also examined professional pop/rock/jazz musicians' use of hearing protection devices in relation to the extent of their exposure to amplified music. Forty-four pop/rock/jazz musicians were interviewed using the Pop/Rock/Jazz Musician's Questionnaire (PRJMQ) in order to obtain self-reported symptoms of tinnitus and hyperacusis. Forty-two of the subjects were also tested for air-conduction hearing thresholds in the frequency range of 1-8 kHz. Results show that the extent of professional pop/rock/jazz musicians' exposure to amplified music was related to both objective and subjective variables of hearing loss: Greater musical experience was positively linked to higher hearing thresholds in the frequency range of 3-6 kHz and to the subjective symptom of tinnitus. Weekly hours playing were found to have a greater effect on hearing loss in comparison to years playing. Use of hearing protection was not linked to the extent of exposure to amplified music. It is recommended that further research be conducted with a larger sample, in order to gain a greater understanding of the detrimental effects of hours playing versus years playing.

  12. Russian orchestral works. Torgny Sporsen / Ivan March

    Index Scriptorium Estoniae

    March, Ivan

    1991-01-01

    Uuest heliplaadist "Russian orchestral works. Torgny Sporsen (bass). Gothenburg Symphony Brass Band. Gothenburg Symphony Chorus and Orchestra / Neeme Järvi" D6 MC 429 984 - 4 GH; CD 429 984 - 26H (76 minutes). Borodin: In Central Asia. Prince Igor - Polovtsian Dances

  13. Mahler: Sinfonie Nr. 8 Es-Dur (Sinfonie der Tausend) / Norbert Rüdell

    Index Scriptorium Estoniae

    Rüdell, Norbert

    1995-01-01

    Uuest heliplaadist "Mahler: Sinfonie Nr. 8 Es-Dur (Sinfonie der Tausend). Estonian Boys' Choir, Brunnsbo Children's Choir, Gothenburg Opera Chorus, Royal Stockholm Philharmonic Choir, Gothenburg Symphony Chorus, Gothenburg Opera Chorus, Gothenburg Symphony Orchestra, Neeme Järvi. BIS/Disco-Center CD 700 (WD:72'18")

  14. Ethnomusicological biography of the traditional folk musician: Biography of the gusle-player

    Directory of Open Access Journals (Sweden)

    Lajić-Mihajlović Danka

    2008-01-01

    Full Text Available With the development of ethnomusicology from a comparative discipline to an anthropologically oriented science there has been an increase in the significance of the biography of folk musicians as scientific sources. The intention of the anthropological thought to accept and theoretically consider human nature as open and dynamic, has been realized in the ethnomusicological plane through the understanding of music as a product of thinking and behaviour of a particular musician in given circumstances. The concept of an artist is especially complex in the field of oral music culture, where creation and performance are connected in one person and the transferring process involves direct communication. The attempt to overcome the dichotomy of the musicological and sociological, i. e. anthropological attitude in ethnomusicology by synthesizing concepts which involve music, culture and man has brought particular importance to the relations between individual biographies and 'biographies of the collective' - relevant historical ethnological, anthropological, sociological, culturological, religion ideological and other types of data. Observations enlightening the social side of the folk musician's personality make the necessary 'frame' for the biography: from 'objective' social circumstances which modelled it to the opinion of the cultural environment about his performing. The folk musician's biography oriented towards ethnomusicology involves the result of a critical evaluation of the picture based on the emic and ethic vision autobiographical data and the observations of others, primarily researchers. The complexity of a biographical discourse in ethnomusicology can be perfectly seen in the example of the gusle-player's biography, as a genre-determined solo role in the tradition. For studying the relation between a person and a style of music expression, concerning gusle-players it is important to bear in mind the change in the profile of gusle

  15. Increased gray matter volume of left pars opercularis in male orchestral musicians correlate positively with years of musical performance.

    Science.gov (United States)

    Abdul-Kareem, Ihssan A; Stancak, Andrej; Parkes, Laura M; Sluming, Vanessa

    2011-01-01

    To compare manual volumetry of gray matter (GM) / white matter (WM) of Broca's area subparts: pars opercularis (POP) and pars triangularis (PTR) in both hemispheres between musicians and nonmusician, as it has been shown that these regions are crucial for musical abilities. A previous voxel-based morphometric (VBM) study conducted in our laboratory reported increased GM density in Broca's area of left hemisphere in male orchestral musicians. Functional segregation of POP/PTR justified separate volumetric analysis of these parts. We used the same cohort for the VBM study. Manual morphometry (stereology) was used to compare volumes between 26/26 right-handed orchestral musicians/nonmusicians. As expected, musicians showed significantly increased GM volume in the Broca's area, specifically in the left POP. No significant results were detected in right POP, left/right PTR GM volumes, and WM volumes for all regions. Results were positively correlated with years of musical performance (r = 0.7, P = 0.0001). This result corroborates the VBM study and is in line with the hypothesis of critical involvement of POP in hearing-action integration being an integral component of frontoparietotemporal mirror neuron network. We hypothesize that increased size of musicians' left POP represent use-dependent structural adaptation in response to intensive audiomotor skill acquisition. Copyright © 2010 Wiley-Liss, Inc.

  16. Catching a Glimpse of the Future: One Year on in a Youth String Project

    Science.gov (United States)

    Power, Anne M.; Powell, Sarah J.

    2016-01-01

    The provision of musical experiences for youth, especially in low socio-economic areas (SES), requires funded support and imaginative resourcing. This paper presents data from the Penrith (NSW Australia) Youth String Program offered in partnership by the Australian Chamber Orchestra (ACO), Penrith Symphony Orchestra (PSO) and The Joan Sutherland…

  17. Towards a Transcultural Theory of Democracy for Instrumental Music Education

    Science.gov (United States)

    Tan, Leonard

    2014-01-01

    At present, instrumental music education, defined in this paper as the teaching and learning of music through wind bands and symphony orchestras of Western origin, appears embattled. Among the many criticisms made against instrumental music education, critics claim that bands and orchestras exemplify an authoritarian model of teaching that does…

  18. Enhancing surgical performance by adopting expert musicians' practice and performance strategies.

    Science.gov (United States)

    Rui, Mei; Lee, Jeffrey E; Vauthey, Jean-Nicolas; Conrad, Claudius

    2018-04-01

    Surgery is a performing art-each surgical procedure is a live performance that has immediate and irreversible consequences for both the performer and the audience. Surgeons operate with surgical instruments, whereas musicians perform with musical instruments. Both perform in high-stress, high-risk work environments, where small errors in motor performance or judgment can have immediate negative consequences. While there is abundant literature on musical performance and their impact on outcome, little similar research has been published in the field of surgery. We aimed at identifying expert musicians' practice and performance strategies that may aid surgeons to enhance their surgical performance. In the study, 82 relevant English-language articles from 1974 to 2017 matched applicable search terms. Nominal Group Technique was applied to identify 5 key domains that comprise important parallels between surgical and expert musical performance. The 5 key domains identified were: (1) extensive training and deliberate practice, (2) dexterity and ambidexterity, (3) performance evaluation and competition, (4) performance-related injuries, and (5) performance anxiety. We found focused and mindful training in motor performance, not performing immediately after a hiatus from practice, training to improve the precision and responsiveness of the nondominant hand, continuous and critical self-evaluation, training in injury recognition and prevention, and pharmacologic factors to be of utmost importance. Critical parallels exist between surgical and expert musical performance that may improve surgical outcomes by adopting musicians' strategies for combating physiological and psychologic performance-related issues. Raising surgeons' awareness for this subject content may improve surgical performance and patient outcomes, as well as help prevent occupational injuries. Copyright © 2017 Elsevier Inc. All rights reserved.

  19. Neural correlates of perceptual grouping effects in the processing of sound omission by musicians and nonmusicians.

    Science.gov (United States)

    Ono, Kentaro; Altmann, Christian F; Matsuhashi, Masao; Mima, Tatsuya; Fukuyama, Hidenao

    2015-01-01

    Perceptual grouping is the process of organizing sounds into perceptually meaningful elements. Psychological studies have found that tones presented as a regular frequency or temporal pattern are grouped according to gestalt principles, such as similarity, proximity, and good continuity. Predictive coding theory suggests that this process helps create an internal model for the prediction of sounds in a tone sequence and that an omission-related brain response reflects the violation of this prediction. However, it remains unclear which brain areas are related to this process, especially in paying attention to the stimuli. To clarify this uncertainty, the present study investigated the neural correlates of perceptual grouping effects. Using magnetoencephalography (MEG), we recorded the evoked response fields (ERFs) of amateur musicians and nonmusicians to sound omissions in tone sequences with a regular or random pattern of three different frequencies during an omission detection task. Omissions in the regular sequences were detected faster and evoked greater activity in the left Heschl's gyrus (HG), right postcentral gyrus, and bilateral superior temporal gyrus (STG) than did omissions in the irregular sequences. Additionally, an interaction between musical experience and regularity was found in the left HG/STG. Tone-evoked responses did not show this difference, indicating that the expertise effect did not reflect the superior tone processing acquired by amateur musicians due to musical training. These results suggest that perceptual grouping based on repetition of a pattern of frequencies affects the processing of omissions in tone sequences and induces more activation of the bilateral auditory cortex by violating internal models. The interaction in the left HG/STG may suggest different styles of processing for musicians and nonmusicians, although this difference was not reflected at the behavioral level. Copyright © 2014 Elsevier B.V. All rights reserved.

  20. The Complete Works of Gilles Mureau (c1442-1512) – poet-musician of Chartres

    DEFF Research Database (Denmark)

    Christoffersen, Peter Woetmann

    2011-01-01

    on this background. His stature as a composer might turn out to be more important than one would expect from the treatment as third-rank composer he usually receives in the musicological literature. Mureau’s literary ambitions and his way of transforming his poetic texts into music may have had some influence...... and 1490s. Copyists began to ascribe the ‘hit song’ to the far more famous musicians Busnoys and Compere, and it was provided with an extra “Si placet” altus part in Ottaviano Petrucci’s pioneering printed collection of secular music from 1501, the Odhecaton. Long before that, Mureau’s name as a composer...