Características inherentes al diseño de la lectura a primera vista cantada en las clases de lenguaje musical de conservatorios profesionales

ABSTRACTPrevious research in music and health suggests differential long-term health implications for amateur versus professional musicians. The present study focused on (a) self-rated health of adult amateur musicians and professional musicians compared to non-musicians; (b) associations between self-reported music in early childhood homes and choice of staying musically active as adults; (c) associations between involvement in music in one’s early childhood home and adult belief in music as a health resource. Data originated from the Danish Health and Morbidity Survey 2013. The survey was based on a random sample of 25,000 adult Danes (response rate: 57%). Besides standard health-related questions the survey included eight specific music questions. The study revealed significant differences between professional musicians, amateur musicians, and non-musicians and between active and no longer active musicians (both amateurs and professionals). Active professional musicians reported a number of health problems, while active amateur musicians reported a significantly better health than both non-musicians and no longer active amateurs. A clear association was found between singing and playing in childhood and being active as professional or amateur musicians in adult life, and also believing that music activities and experiences can help to stay healthy.

This investigation examined amateur and professional musicians' perceptions of rehearsal and performance as either work or leisure along the dimensions of intrinsic motivation, extrinsic motivation, and perception of choice. Seventyfour subjects participated in this study. Thirty-four were professional musicians and 40 were amateur musicians. The results showed a relationship between the type of musician and the perception of rehearsal and performance as either leisure, leisure/work, or work. Significant differences were found between the subgroups' (leisure, leisure/work, and work) intrinsic motivation, extrinsic motivation, and perception of choice during rehearsal. Amateur and professional musicians differed on the variables intrinsic motivation, extrinsic motivation, and perception of choice during rehearsal. During performance, differences were found in the musicians' extrinsic motivation. These results suggested that amateur musicians viewed rehearsal and performance as leisure, motivated by intrinsic factors, while professional musicians perceived the activities as work, motivated primarily by the pay-off.KEYWORDS: leisure perception, intrinsic motivation, extrinsic motivation, extrinsic motiation, perception of choice, music, workIntroductionThe relationship of work and leisure has been the subject of inquiry for many researchers in the field of leisure studies. One of the main concerns of these studies is the definition and conceptualization of leisure and work (Iso-Ahola, 1979; Kelly, 1972, 1978; Mannell, Zuzanek, & Larson, 1988; Neulinger, 1974, 1981; Roadburg, 1983; Wagner, Lounsbury, & Fitzgerald 1989). Most frequently, leisure has been defined as: (a) a form of activity (Dumazedier, 1967; Kraus, 1984); (b) unobligated time (Kaplan, 1975; Kraus, 1984; Murphy, 1981); or (c) a of (de Grazia, 1964), the classical view. Leisure has also been defined as compensatory, where the individual chooses an activity to satisfy those needs unmet during work; in contrast to the spillover view where leisure is viewed as a continuation of work (Wilensky, 1960). These explanations assume that leisure and work should be perceived as separate entities rather than being defined as part of a continuum.Neulinger (1976) offered a model which dealt with factors that characterize and distinguish leisure and nonleisure experiences. This psychological model is concerned with the analysis of a state of mind, not with people, activities, or life situations. His model examines the effects of perceived freedom, constraint, and motivation (intrinsic and extrinsic). Neulinger's (1981) perspective of leisure emphasizes the participant's behavior rather than the activities and conditions. Neulinger's conceptualization was derived from the classical view, i.e, leisure as a state of mind or an experience.Neulinger's model suggested that perceived freedom, defined as the freedom to choose whether or not to participate in an activity, is closely related to and considered the basis of leisure. Perceived constraint, defined as the feeling of obligation, responsibility, and commitment towards the activity, is related to work. The primary characteristic that distinguishes leisure and nonleisure is made along the dimension of perceived freedom, and a second characteristic is made along the dimension of motivation (intrinsic or extrinsic). For Neulinger, the source of satisfaction determines whether motivation is intrinsic or extrinsic. Unlike Kelly (1972) and Parker (1971), this model treats work as part of a continuum rather than in opposition to leisure (Neulinger, 1981).Considerable research has explored the definition of leisure and work and their relationship according to the actors' own experiences. Brook (1993) studied managers' perceptions of work and nonwork. She noted that work and non-work have similar characteristics such as creativity, challenge, mental activity, and self-development. …

The study aimed to translate, culturally adapt, and test the psychometric properties of the Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians (MPIIQM) in an Italian population of professional and amateur musicians. The translation and cultural adaptation process followed international guidelines, while the reliability and validity of the questionnaire were assessed against the COSMIN checklist. The internal consistency was calculated using Cronbach's alpha (a) coefficient. Construct validity was analyzed using exploratory factor analysis (EFA) with principal axis factoring (PAF) extraction. The sample adequacy and data suitability were assessed through the Kaiser-Meyer-Olkin (KMO) and Bartlett's sphericity tests, respectively. Concurrent validity was analyzed by assessing Pearson's correlation coefficient with the Italian version of the Musculoskeletal Health Questionnaire (MSK-HQ-I). Finally, the cross-cultural validity was investigated by analyzing score differences between amateur and professional musicians, and differences based on musical practice habits. The tool was administered to 311 subjects recruited from across Italy. The MPIIQM-IT was found to have high levels of internal consistency for the entire tool and each of the two subscales (Cronbach's a = 0.875, 0.877, and 0.845, respectively). The recruited sample was found to be adequate (KMO = 0.810) and the data suitable (C2 = 341.040, p < 0.001) for factor analysis, which produced 9 items contained in two main factors. Pearson's correlation coefficients showed a positive, statistically significant correlation between the MSK-HQ-I and the two subscales of the MPIIQM-IT with p < 0.01. Analysis of Student's t-test for independent samples and the ANOVA test for continuous variables showed statistically significant differences between male and female, professional and non-professional musicians, and conservatory and non-conservatory students. The MPIIQM-IT is a valid and reliable tool, useful for investigating the presence of pain and playing-related musculoskeletal disorders (PRMDs) in both professional and non-professional musicians.

Musicians are at risk of developing music-induced hearing loss (MIHL) and also exhibit increased prevalence of depression, anxiety, and stress. However, the relationship between hearing loss and mental health issues in musicians has not yet been explored. This study conducted a cross-sectional analysis of 32 professional and 35 amateur musicians recruited from local bands and orchestras. KUDUwave software was used to obtain their overall hearing thresholds for both ears over three frequency ranges: 0.5 to 4, 6 to 8, and 9 to 16 kHz. Participants also completed a demographic questionnaire that contained questions related to musical exposure, type of music exposed, years of practice, and so on, and the DASS-21 questionnaire, which assesses the presence of depression, anxiety, and stress symptoms. Professional musicians had significantly greater music exposure compared with amateur musicians, but their hearing thresholds were not significantly different from amateur musicians in 0.5–4, 6–8, or 9–16 kHz frequency ranges. Professional musicians experienced greater symptoms of anxiety compared with amateur musicians, and this occurred independently of their hearing status. Further longitudinal studies are required to explore the causative factors resulting in increased mental health issues in professional musicians and what potential interventions may be implemented to address anxious symptomology in this population.

The article presents the results of an empirical study of the creativity of professional and amateur musicians. The characteristic of the phenomenon of creativity is given. The purpose of this work is to clarify the characteristics of the impact of musical activity on the development of such a personal trait as creativity by comparing the differences in the characteristics of the creativity of musicians and people involved in music at the amateur level. To empirically verify the specifics of the creativity of professional musicians and amateur musicians, a psychodiagnostic study was conducted, which involved 96 people (52 professional musicians and 44 amateur musicians). The following psychodiagnostic methods were used to solve the tasks set in the study: 16-factor personality questionnaire R.B. Kettella (16-FPQ-187-A), diagnostics of types of thinking and level of creativity (J. Brunner), personal creativity questionnaire (OE Tunik, 2002). The presence of a higher level of creativity in professional musicians is substantiated and its constituent components in this contingent are singled out. The group of professional musicians has such traits as creativity, curiosity and riskiness. Amateur musicians also show a moderate level of creativity. Thus, the creativity of professional musicians and amateurs, despite the same type of activity, has a different character. Regression analysis used in the study revealed that the creativity of professional musicians is most influenced by imagination and symbolic thinking, and the creativity of amateur musicians is determined by imagination, figurative thinking and such traits as trust (L – according to Kettell). The study of creativity (professional musicians, amateurs) emphasizes the exceptional role of imagination in the creative abilities of both groups of musicians, but professionals, along with imagination, play a significant role in sign thinking, and amateurs - figurative thinking, which emphasizes the differences between their groups.

Professional musicians listen differently to music

Individual, social and situational factors might play an important role on the experience of anxiety during musical performances. The present research focused on the relationship between self-representations, including musical self, and performance anxiety among a sample of Italian professional and amateur musicians (N = 100; age, M = 23.40, 50% females). We predicted that higher self-discrepancies (actual vs. future self) would be associated with higher performance anxiety in a musical setting (vs. a non musical one), via musical self, and only in professional musicians. The results confirmed our hypothesis. Higher discrepancies between actual and future self-representations were positively associated with higher performance anxiety levels via the musical self only in participants who play instruments at a professional level. Furthermore, musical self influenced performance anxiety levels in a music related setting (i.e., a concert) but not in a non musical one (i.e., an exam).

Studies on professional orchestra musicians have shown a high incidence of physical problems mainly on the level of the musculoskeletal system. At the same time, the individual instrument groups differ in the types and patterns of complaints. So far, no study on amateur orchestra musicians has been conducted. We therefore interviewed the 130 members of the "Bayerisches Arzteorchester", all members being amateur musicians. The complaints were documented and compared with those of professional orchestra musicians. 84 % of the musicians had physical problems, 74 % involving the musculoskeletal system. The high string players suffered mainly from shoulder-neck problems, cellists and bassists complained of neck and lumbar spine problems. Wind players suffered at the spine and woodwind players at individual digits. The hand was affected in 39 % of the musicians. The complaints voiced by amateur musicians are essentially identical with those found in professional musicians.

Hearing health, a cornerstone for musical performance and appreciation, often stands at odds with the unique acoustical challenges that musicians face. Utilizing a cross-sectional design, this survey-based study presents an in-depth examination of self-rated hearing health and its contributing factors in 370 professional and 401 amateur musicians recruited from German-speaking orchestras. To probe the nuanced differences between these groups, a balanced subsample of 200 professionals and 200 amateurs was curated, matched based on age, gender, and instrument family. The findings revealed that two-thirds of respondents reported hearing-related issues, prevalent in both professional and amateur musicians and affecting music-related activities as well as social interactions. The comparative analysis indicates that professionals experienced nearly four times more lifetime music noise exposure compared to amateurs and faced more hearing challenges in social contexts, but not in musical settings. Professionals exhibited greater awareness about hearing health and were more proactive in using hearing protection devices compared to their amateur counterparts. Notably, only 9% of professional musicians’ playing hours and a mere 1% of amateurs’ playing hours were fully protected. However, with respect to their attitudes toward hearing aids, professional musicians exhibited a noticeable aversion. In general, an increase in music-related problems (alongside hearing difficulties in daily life) was associated with a decrease in mental health-related quality of life. This research highlights the importance of proactive hearing health measures among both professional and amateur musicians and underscores the need for targeted interventions that address musicians’ specific hearing health challenges and stigmatization concerns about hearing aids.

The article highlights the categorical and conceptual field of the conceptual construction "innovative technologies in the field of physical education and sports", which is the basis for its construction; the characteristics of such concepts as: "technology", "innovation", "innovative activity in the field of education", "educational technology", "innovative educational program", "innovative educational project", "innovative educational product", "innovation cycle", "innovative technologies", "innovative technologies in the field of physical education and sports"; their interrelation and importance for education in general and specialists in the field of physical education, in particular, are presented.&#x0D; The analysis, synthesis and generalization of concepts and conceptual constructions of scientific and scientific-methodical literature, state nomenclature documents, as well as such research methods as: comparison, analysis of own long-term pedagogical experience in checking, reviewing qualification works of higher education applicants, including mastering and expert examination of dissertations, it was found that most higher education applicants do not pay due attention to the acquisition of special terminology during their studies in higher education, do not refer to the legislative and regulatory framework. At the same time, special terminology is always related to the content of a particular science, theory and practice of a particular field.&#x0D; It is noted that special terminology, including terminology in the field of physical education and sports, is an urgent necessity, the basis of professional communication, which requires in-depth knowledge, continuous development and improvement from specialists.&#x0D; It is emphasized that a clear understanding and correct use of the concepts and conceptual constructions mentioned in the article will allow specialists in the field of physical education and sports to correctly direct their efforts towards the development and implementation of innovative technologies in the theory and practice of physical education and sports, as well as contribute to improving the quality of their research work.

BackgroundMusical performance-associated musculoskeletal disorders (MSD) are a common health problem among professional musicians. Considering the manifold consequences arising for the musicians, they can be seen as a threat for their professional activity. String players are the most affected group of musicians in this matter. Faults in upper body posture while playing the instrument, causing un-ergonomic static strain on the back and unergonomic limp-movements, are a main reason for musculoskeletal disorders and pain syndromes.MethodsA total of 66 professional musicians, divided into three groups, are measured.The division is performed by average duration of performance, intensity of daily exercise and professional experience. Video raster stereography, a three-dimensional analysis of the body posture, is used to analyse the instrument-specific posture. Furthermore the pressure distribution during seating is analysed. Measurements are performed because the musician is sitting on varying music chairs differing in structure and/or construction of the seating surface. The measurements take place in habitual seating position as well as during playing the instrument.ResultsTo analyse the influence of different chairs, ANOVA for repeated measurements or Friedman-test is used, depending on normality assumptions. Comparison of posture between amateur musicians, students, and professional orchestral musicians is carried out the non-parametric Jonckheere-Terpstra-test.ConclusionsOur method attempts to give the musicians indications for the right music chair choice by analyzing the chair concepts, so that thereby preemptively MSD can be reduced or prevented.

International Journal of Multilingual Education (IJME) is dedicated to advancing knowledge of theory, research and practice in the field of multilingual and multicultural education as well as in language acquisition. The topics of the journal are the following: (a) Multilingual Education Theory and Practice; (b) Content and language integrated learning research, theory and practice; (c) Multilingual educational policy research, policy and practice; (d) Administration of multilingualism and multilingual educational programs; (e) Multicultural Education Theory, research and practice; (f) Intercultural training; and cultural diversity in education; (g) Mother tongue, second and foreign language acquisition theory, research and practice and etc. The journal publishes reviews and empirical research (both full length papers and brief reports) with high priority given to manuscripts that join theory and research with applications. IJME provides an interdisciplinary forum for scholars in fields of education, linguistics, political science, psychology, communication, education, management, sociology and related disciplines. International Journal of Multilingual Education (IJME) is dedicated to advancing knowledge of theory, research and practice in the field of multilingual and multicultural education as well as in language acquisition. The topics of the journal are the following: (a) Multilingual Education Theory and Practice; (b) Content and language integrated learning research, theory and practice; (c) Multilingual educational policy research, policy and practice; (d) Administration of multilingualism and multilingual educational programs; (e) Multicultural Education Theory, research and practice; (f) Intercultural training; and cultural diversity in education; (g) Mother tongue, second and foreign language acquisition theory, research and practice and etc. The journal publishes reviews and empirical research (both full length papers and brief reports) with high priority given to manuscripts that join theory and research with applications. IJME provides an interdisciplinary forum for scholars in fields of education, linguistics, political science, psychology, communication, education, management, sociology and related disciplines.

Domain specific traits predict achievement in music and multipotentiality

Beauty is an aesthetic quality that many composers and performers strive to attain and that most listeners value highly in music. Yet, what listeners hear and feel when they find music beautiful, the impact this experience has on them, and wherein lie any potential individual differences remain unclear. To address these gaps, an online questionnaire was administered to 81 adults. They described their experience of listening to three self-selected “beautiful pieces of music” alongside three pieces they listened to a lot but did not consider beautiful; focusing on each piece’s sonic features, emotions induced, and any impact engaging with the pieces had had on them. Respondents’ personality traits and level of musical training were also collected to explore if these contributed significantly to variability in the data. Thematic analysis of text responses showed that participants consider intrinsic features of the music (mellow timbre, pleasing melodies and harmonies, slow tempo), cognitive factors (degree of change, complexity levels, and repetition), and aesthetic criteria (emotional effects, presence of a message, expressivity) when judging the beauty of a piece. It also showed that, beyond being calming and evoking pleasant sadness, pieces perceived as beautiful tend to move, transport and emotionally resonate with the listener, inspiring musical activities, and providing strong emotional support. Exploratory, quantitative analyses revealed that amateur musicians and open individuals reported a wider range of contributing musical features, while both amateur and professional musicians, along with conscientious individuals, reported a broader range of musical beauty’s influence on their musical activities. Our study suggests that musical beauty is a multifaceted phenomenon that has profound emotional impact on most individuals, while also displaying notable sensitivity to listeners’ personality and musical background. In doing so, our study contributes to a more comprehensive account of what it means to experience beauty in music.

Beauty is an aesthetic quality that many composers and performers strive to attain and that most listeners value highly in music. Yet, what listeners hear and feel when they find music beautiful, the impact this experience has on them, and wherein lie any potential individual differences remain unclear. To address these gaps, an online questionnaire was administered to 81 adults. They described their experience of listening to three self-selected "beautiful pieces of music" alongside three pieces they listened to a lot but did not consider beautiful; focusing on each piece's sonic features, emotions induced, and any impact engaging with the pieces had had on them. Respondents' personality traits and level of musical training were also collected to explore if these contributed significantly to variability in the data. Thematic analysis of text responses showed that participants consider intrinsic features of the music (mellow timbre, pleasing melodies and harmonies, slow tempo), cognitive factors (degree of change, complexity levels, and repetition), and aesthetic criteria (emotional effects, presence of a message, expressivity) when judging the beauty of a piece. It also showed that, beyond being calming and evoking pleasant sadness, pieces perceived as beautiful tend to move, transport and emotionally resonate with the listener, inspiring musical activities, and providing strong emotional support. Exploratory, quantitative analyses revealed that amateur musicians and open individuals reported a wider range of contributing musical features, while both amateur and professional musicians, along with conscientious individuals, reported a broader range of musical beauty's influence on their musical activities. Our study suggests that musical beauty is a multifaceted phenomenon that has profound emotional impact on most individuals, while also displaying notable sensitivity to listeners' personality and musical background. In doing so, our study contributes to a more comprehensive account of what it means to experience beauty in music.