Fit to Perform: A Profile of Higher Education Music Students’ Physical Fitness

Musicians are often called athletes of the upper body, but knowledge of their physical and fitness profiles is nonetheless limited, especially those of advanced music students who are training to enter music’s competitive professional landscape. To gain insight into how physical fitness is associated with music making, this study investigated music students’ fitness levels on several standardized indicators. 483 students took part in a fitness screening protocol that included measurements of lung function, flexibility (hypermobility, shoulder range of motion, sit and reach), strength and endurance (hand grip, plank, press-up), and sub-maximal cardiovascular fitness (3-min step test), as well as self-reported physical activity (IPAQ-SF). Participants scored within ranges appropriate for their age on lung function, shoulder range of motion, grip strength, and cardiovascular fitness. Their results for the plank, press up, and sit and reach were poor by comparison. Reported difficulty (22%) and pain (17%) in internal rotation of the right shoulder were also found. Differences between instrument groups and levels of study were observed on some measures. In particular, brass players showed greater lung function and grip strength compared with other groups, and postgraduate students on the whole were able to maintain the plank for longer but also demonstrated higher hypermobility and lower lung function (FEV1) and cardiovascular fitness than undergraduates. 79% of participants exceeded the minimum recommended weekly amount of physical activity, with singers the most physically active group and keyboard players, composers, and conductors the least active. IPAQ-SF scores correlated positively with lung function, sit and reach, press-up and cardiovascular fitness suggesting that, in the absence of time and resources to carry out comprehensive physical assessments with musicians, this one measure alone can provide useful insights. The findings indicate that music students have adequate levels of general health-related fitness, and we discuss whether adequate fitness is enough for people undertaking physically and mentally demanding activities such as making music. We argue that musicians could benefit from strengthening their supportive musculature and enhancing their awareness of strength imbalances

Regaining Motor Control in Musician's Dystonia by Restoring Sensorimotor Organization

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

A novel sonification approach to support the diagnosis of Alzheimer's dementia

Alzheimer’s disease is the most common neurodegenerative form of dementia that steadily worsens and eventually leads to death. Its set of symptoms include loss of cognitive function and memory decline. Structural and functional imaging methods such as CT, MRI, and PET scans play an essential role in the diagnosis process, being able to identify specific areas of cerebral damages. While the accuracy of these imaging techniques increases over time, the severity assessment of dementia remains challenging and susceptible to cognitive and perceptual errors due to intra-reader variability among physicians. Doctors have not agreed upon standardized measurement of cell loss used to specifically diagnose dementia among individuals. These limitations have led researchers to look for supportive diagnosis tools to enhance the spectrum of diseases characteristics and peculiarities. Here is presented a supportive auditory tool to aid in diagnosing patients with different levels of Alzheimer’s. This tool introduces an audible parameter mapped upon three different brain’s lobes. The motivating force behind this supportive auditory technique arise from the fact that AD is distinguished by a decrease of the metabolic activity (hypometabolism) in the parietal and temporal lobes of the brain. The diagnosis is then performed by comparing metabolic activity of the affected lobes to the metabolic activity of other lobes that are not generally affected by AD (i.e., sensorimotor cortex). Results from the diagnosis process compared with the ground truth show that physicians were able to categorize different levels of AD using the sonification generated in this study with higher accuracy than using a standard diagnosis procedure, based on the visualization alone

A longitudinal study of the development of expressive timing

Tempo arches have often been reported in polished music performances, but their development during the learning of a new piece has not been studied. We examined the development of expressive timing at three levels of musical structure (piece, section, phrase) as an experienced concert soloist (the second author) prepared the Prelude from J. S. Bach’s Suite No. 6 for solo cello for public performance. We used mixed effect models to assess the development of expressive timing and the effects of the performance cues (PCs) that the cellist used as mental landmarks to guide her performance. Tempo arches appeared early in practice at all three levels of musical structure and changed over time in complex ways, first becoming more pronounced and more asymmetrical and then shrinking somewhat in later performances. Arches were also more pronounced in phrases that contained PCs, suggesting that PCs reminded the cellist where to “breathe” between phrases. The early development of tempo arches suggests that they were an automatic product of basic cognitive or motor processes. The complex trajectory of their later development appeared to be the result, at least in part, of a deliberate communicative strategy intended to draw listeners’ attention to some musical boundaries more than others

Searching fantasy: Froberger’s fantasias and ricercars four centuries on.

The fantasias and ricercars of Johann Jacob Froberger (1616–1667) provide fertile ground from which to study seventeenth-century counterpoint and its keyboard performance. They constitute just under a quarter of his entire keyboard music and almost one half of his contrapuntal keyboard music. Froberger’s historical significance, e.g. as ‘father’ of the keyboard suite, has often assumed greater importance than his contribution to the development of fugue generating a bias for a small core of more popular genres and pieces amongst performers: a trend reflected across the surviving sources and in current teaching and performance today. Froberger’s autograph collections arrange and group the fantasias and ricercars into single-genre sets. These genre complexes display clear agendas of balance, contrast and self-referencing within and between pieces. This essay discusses the wide dissemination of sources and locates this with the context of the music’s reception history. It is proposed that the fantasias and ricercars form a distinctive grouping within Froberger’s contrapuntal keyboard music which complements the toccatas, suites and lamentations and, in comparison with them, represents a less overt, equally rhetorical, and more intellectually ‘virtuosic’ interpretation of the stylus fantasticus. Issues of performance practice, including ornamentation, tempo and meter, articulation and phrasing, instrumental designation, expression and affekt, and notational practices are considered. The composer’s compositional methods and contrapuntal skills are scrutinised and compared with contemporary theories of counterpoint. A new analytic approach is outlined to understand Froberger’s reliance on motivic construction better and which has practical applications to musical theory, historical inquiry and performance

“Sounds good, but… what is it?” an introduction to outcome measurement from a music therapy perspective

“Sounds good, but… what is it?” This is a common reaction to outcome measurement by music therapy practitioners and researchers who are less familiar with its meanings and practices. Given the prevailing evidence-based practice movement, outcome measurement does ‘sound good’. Some practitioners and researchers, however, have a limited or unclear understanding of what outcome measurement includes; particularly with respect to outcome measures and related terminology around their use. Responding to the “what is it?” question, this article provides an introduction to such terminology. It explores what outcome measures are and outlines characteristics related to their forms, uses and selection criteria. While pointing to some debates regarding outcome measurement, including its philosophical underpinnings, this introduction seeks to offer a useful platform for a critical and contextual understanding of the potential use of outcome measures in music therapy

Listeners' and performers' shared understanding of jazz improvisations

This study explores the extent to which a large set of musically experienced listeners share understanding with a performing saxophone-piano duo, and with each other, of what happened in three improvisations on a jazz standard. In an online survey, 239 participants listened to audio recordings of three improvisations and rated their agreement with 24 specific statements that the performers and a jazz-expert commenting listener had made about them. Listeners endorsed statements that the performers had agreed upon significantly more than they endorsed statements that the performers had disagreed upon, even though the statements gave no indication of performers' levels of agreement. The findings show some support for a more-experienced-listeners-understand-more-like-performers hypothesis: Listeners with more jazz experience and with experience playing the performers' instruments endorsed the performers' statements more than did listeners with less jazz experience and experience on different instruments. The findings also strongly support a listeners-as-outsiders hypothesis: Listeners' ratings of the 24 statements were far more likely to cluster with the commenting listener's ratings than with either performer's. But the pattern was not universal; particular listeners even with similar musical backgrounds could interpret the same improvisations radically differently. The evidence demonstrates that it is possible for performers' interpretations to be shared with very few listeners, and that listeners' interpretations about what happened in a musical performance can be far more different from performers' interpretations than performers or other listeners might assume

The MaPS project: mapping teacher conceptions of musical development

The chapter starts from the premise that an historically- and institutionally-formed orientation to music education at primary level in European countries privileges a nineteenth century Western European music aesthetic, with its focus on formal characteristics such as melody and rhythm. While there is a move towards a multi-faceted understanding of musical ability, a discrete intelligence and willingness to accept musical styles or 'open-earedness', there remains a paucity of documented evidence of this in research at primary school level. To date there has been no study undertaken which has the potential to provide policy makers and practitioners with insights into the degree of homogeneity or universality in conceptions of musical ability within this educational sector. Against this background, a study was set up to explore the following research questions: 1. What conceptions of musical ability do primary teachers hold a) of themselves and; b) of their pupils? 2. To what extent are these conceptions informed by Western classical practices? A mixed methods approach was used which included survey questionnaire and semi-structured interview. Questionnaires have been sent to all classroom teachers in a random sample of primary schools in the South East of England. This was followed up with a series of semi-structured interviews with a sub-sample of respondents. The main ideas are concerned with the attitudes, beliefs and working theories held by teachers in contemporary primary school settings. By mapping the extent to which a knowledge base for teaching can be resistant to change in schools, we can problematise primary schools as sites for diversity and migration of cultural ideas. Alongside this, we can use the findings from the study undertaken in an English context as a starting point for further investigation into conceptions of music, musical ability and assessment held by practitioners in a variety of primary school contexts elsewhere in Europe; our emphasis here will be on the development of shared understanding in terms of policies and practices in music education. Within this broader framework, our study can have a significant impact internationally, with potential to inform future policy making, curriculum planning and practice

Musicians’ perceptions and experiences of using simulation training to develop performance skills

Simulation has been applied as a tool for learning and training in sports, psychology and medicine for some time, but its current use and potential for training musicians is less well understood. The aim of this study was to explore musicians’ perceptions and experiences of using simulated performance environments. Nine conservatory students performed in two simulations, each with interactive virtual elements and vivid environmental cues: a recital with a virtual audience and an audition with virtual judges. Qualitative data were collected through a focus group interview and written reflective commentaries. Thematic analysis highlighted the musicians’ experiences in terms of (1) their anticipation of using the simulations, (2) the process of performing in the simulations, (3) the usefulness of simulation as a tool for developing performance skills and (4) ways of improving simulation training. The results show that while simulation was new to the musicians and individual levels of immersion differed, the musicians saw benefits in the approach for developing, experimenting with and enhancing their performance skills. Specifically, the musicians emphasised the importance of framing the simulation experience with plausible procedures leading to and following on from the performance, and they recognised the potential for combining simulation with complementary training techniques

Whose voices? The fate of Luigi Nono’s 'Voci destroying muros'

Luigi Nono's Voci destroying muros for female voices and small orchestra was performed for the first and only time at the Holland Festival in 1970. A setting of texts by female prisoners and factory workers, it marks a sharp stylistic departure from Nono's political music of the 1960s by virtue of its audible quotations of revolutionary songs, its readily intelligible text setting, and especially its retention of the diatonic structure of the song on which the piece is based, the communist “Internationale.” Nono's decision, following the premiere, to withdraw the work from his catalogue suggests that he came to regard it as transgressing an important boundary in his engagement with “current reality.” I examine the work and its withdrawal in the context of discourses within the Italian left in the 1960s that accused the intellectuals of the Partito Comunista Italiano of unhelpfully mediating the class struggle. Nono's contentious reading of Antonio Gramsci, offered as justification for his avant-garde compositional style, certainly provided fuel for this critique. But Voci destroying muros suggests receptivity on the part of the composer—albeit only momentary—to achieving a more direct representation of the voices of the dispossessed