Professional Musicians Research Articles

Epilepsy and musical perception. A perspective involving 14 patients.

The relationship between epilepsy and music is poorly understood. Musicogenic epilepsy, which involves seizures triggered by music, and epilepsy that triggers or involves musical experiences are rare. Anti-seizure medications (ASMs) may affect cognition and possibly the musical sphere. The relationship between epilepsy, ASMs and music perception is insufficiently investigated in the literature. This study describes the clinical characteristics of patients with epilepsy with advanced musical knowledge, and aims to understand the disease's involvement in the musical sphere. A qualitative study was conducted in epileptic patients with musical knowledge, investigating their musical perception before and after a diagnosis of epilepsy and after a change of ASM when this was possible. Questionnaires and recordings of music were used to assess musical perception. Fourteen patients had musical knowledge, and the majority of these (50%) had temporal lobe epilepsy. A total of 92.8% of the patients stated that epilepsy or its medications had affected them in the musical sphere. There was no clear relationship between the lateralisation of the epilepsy and musical involvement. 42.9% were professional musicians, and had to give up their profession. The patients prescribed with more than one ASM had greater musical involvement. Temporal lobe epilepsy appears to have the greatest effect on music perception, and more studies with ASM and music perception are needed to determine its effects.

"I feel like a fish out of water": interpreting the occupational stress and well-being experiences of professional classical musicians.

Professional classical musicians operate within a highly demanding environment, which includes organizational, social, and emotional demands. When not effectively coped with, these demands may cause stress and negatively impact well-being. This qualitative study explored the perceived stress and well-being experiences of professional classical musicians through a transactional theory of stress. The study employed a double hermeneutic interpretation of the lived experiences of the perceived demands faced, stress appraisals made, resources used, and the influence on well-being. Six professional classical musicians were purposefully selected for participation. Semi-structured interviews were conducted and participants reflected on two events: one they perceived as a positive experience and one that was negative. Transcripts were analyzed using Interpretative Phenomenological Analysis and Group Experiential Themes emerged. Three Group Experiential Themes were identified: (a) Performance Demands; (b) Organizational Demands; and, (c) Relationship Demands. Participants predominantly appraised demands as a threat. A small number of demands were appraised as a challenge or benefit, and the fewest demands were appraised as causing harm or loss. Participants' appraisals were informed by underlying properties of stress appraisal such as self and other comparison, and preparation. Participants often relied on personal resources as opposed to available workplace resources. They perceived well-being to relate to stress appraisals with participants experiencing acute and long-term outcomes. This study offers insight into the lived experience of the occupational stress process within professional classical musicians. The findings demonstrate that organizational interventions targeted at continuing professional development and social support are appropriate to help musicians cope more effectively with demands.

The Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians: Assessment of Patient-Related Outcomes among Professional Orchestra Musicians in Poland-A Cross-Sectional Study.

Background: Musculoskeletal pain is one of the reasons for a musician's inability to play an instrument. An assessment of the localization, intensity, and interference of those complaints is important among musicians because of the risk of occupational disease. Assessment by validated tools is especially important and serves as an indicator to take up proper preventive or treatment actions. The aim of the study was to assess the prevalence of playing-related musculoskeletal disorders (PRMDs) and the relationships with PRMDs' impact on playing musical instruments among Polish professional orchestra musicians. Methods: The study was conducted on a group of professional orchestra musicians (age 37.19 ± 9.62 years), 99 (55%) women and 83 (45%) men. Work experience in professional orchestra was 18.3 ± 9.83 years and the reported years of playing musical instrument were 31.4 ± 9.50. The study used the online version of a musician-dedicated questionnaire, Musculoskeletal Pain Intensity and Interference Questionnaire for Musicians of the Polish Population (MPIIQM-P). Results: In the study group, 89.9% of women and 83.1% of men had experienced playing-related pain in their lifetime. The most intense pain among the group with current playing-related musculoskeletal complaints (n = 85) was located in the neck area for 19 (22.4%). Conclusions: The results of the study indicate a high prevalence of playing-related musculoskeletal problems among professional musicians.

Are we all anxious about the same thing? A comparison of lay definitions of music making and performance in the context of music participation

Adverse experiences toward making music can be found in both musicians (music performance anxiety) and non-musicians (avoidance of participating in musical experiences). Both anxiety and avoidance are driven by perceptions and attributions about particular stimuli, based on schemas developed via direct and indirect experiences. Most research within music psychology focuses on the views of professional or student musicians. However, little is known about music avoidance in the general population, or their perceptions of music and performance. This article proposes to address this gap by comparing Australian adults’ perceptions toward music making and performance. A total of 116 participants self-identified as musical/non-musical, a musician/non-musician, and a performer/non-performer, then defined various terms and phrases related to music making and performance. Logistic regressions indicated that those with exposure to the music education system were significantly more likely to self-identify as musical, a musician, and a performer. Tests of independence reveal a relationship between self-identification and perceptions of music making, performance, anxiety, and willingness to engage. Possible mechanisms underlying the results of this study are discussed and a conceptual expansion related to music performance anxiety (MPA) and music making is proposed.

Factors Associated with Performance-Related Pain Among Musicians: A Multicenter Study Using Validated Tools.

We aimed to evaluate factors associated with performance-related pain among musicians with different backgrounds, comparing music students and professional musicians. We performed a multicenter cross-sectional study in a stratified random sample consisting of music students (294) and professional musicians (291). The main outcome was performance-related pain (PRP), measured by the Performance-related Pain among Musicians Questionnaire (PPAM). Factors associated with the outcome were measured using PPAM, International Physical Activity Questionnaire, Modified Fatigue Impact Scale, 10-itemKesslerPsychologicalDistressScale, Frost Multidimensional Perfectionism Scale, and Medical Outcomes Study Short Form 36 Health Survey. From the 585 musicians included (response rate of 82.4%), 322 (55.0%) reported PRP. Professional musicians presented a significantly higher lifetime prevalence of PRP (57.5%, p < 0.001); however, music students reported higher levels of fatigue, anxiety and depression, and lower quality of life. Multivariate logistic regression defined a model with 16 factors significantly associated with higher probability of PRP. Additionally, we describe 25 self-perceived factors reported by musicians as being associated with PRP. We present the first study thoroughly describing and assessing factors associated with PRP among musicians, using a validated tool, including musicians with different backgrounds, and distinguishing music students and professional musicians. We also explore self-perceived factors associated with PRP. The relevant insights coming from this and future studies on factors associated with PRP will contribute to developing more effective preventive programs and improving evidence-based guidance and management of musicians affected by PRP.

Patient-Led Research to Develop a Training Programme for Restoring Musical Joy in Cochlear Implant Recipients: A Reflexive Process Evaluation.

The role of patients in healthcare research is slowly evolving, although patient roles in the research process are limited. This paper reports on a patient-led research project aiming to develop a musical hearing training programme for patients with a cochlear implant (CI): the Musi-CI programme. A CI is an inner ear prosthesis that allows people with severe hearing loss to hear. However, while speech can be understood, CI users cannot fully enjoy music or feel aversion to it. The Musi-CI programme aims to reduce this music aversion to ultimately improve music enjoyment and social participation. The development of the Musi-CI programme was supported by a consortium of professionals in CI rehabilitation and research. The aim of this paper is to describe and evaluate the Musi-CI programme development process and its impact on professional CI rehabilitation and research. Programme development was described using a 3-layered process model of action research, distinguishing the CI user process, the healthcare professional process and the research process. To evaluate perceptions on the programme development process, consortium partners provided written commentsand participated in a reflexive evaluation session that was video-recorded. Reflexive evaluation aims for collective learning and strengthening collaboration among participants. Written comments and video data were analysed using template analysis. The involvement of an expert by experience was perceived as challenging but rewarding for all consortium partners, opening up new perspectives on CI-rehabilitation practice and research. Data analysis revealed two themes on the programme development process, professional space and acknowledgement, and two themes on the outcomes on CI rehabilitation and research: critical reflection and paradigm shift. Experts by experience represent a different knowledge domain that may contribute to change in rehabilitation and research. The development of the programme was initiated by a professional musician and CI user who organized the funding, had a leading role throughout the research process, including the write-up of the results, and co-authored this paper.

Boundaries of task-specificity: bimanual finger dexterity is reduced in musician’s dystonia

Task-specific dystonia leads to loss of sensorimotor control for a particular motor skill. Although focal in nature, it is hugely disabling and can terminate professional careers in musicians. Biomarkers for underlying mechanism and severity are much needed. In this study, we designed a keyboard device that measured the forces generated at all fingertips during individual finger presses. By reliably quantifying overflow to other fingers in the instructed (enslaving) and contralateral hand (mirroring) we explored whether this task could differentiate between musicians with and without dystonia. 20 right-handed professional musicians (11 with dystonia) generated isometric flexion forces with the instructed finger to match 25%, 50% or 75% of maximal voluntary contraction for that finger. Enslaving was estimated as a linear slope of the forces applied across all instructed/uninstructed finger combinations. Musicians with dystonia had a small but robust loss of finger dexterity. There was increased enslaving and mirroring, primarily during use of the symptomatic hand (enslaving p = 0.003; mirroring p = 0.016), and to a lesser extent with the asymptomatic hand (enslaving p = 0.052; mirroring p = 0.062). Increased enslaving and mirroring were seen across all combinations of finger pairs. In addition, enslaving was exaggerated across symptomatic fingers when more than one finger was clinically affected. Task-specific dystonia therefore appears to express along a gradient, most severe in the affected skill with subtle and general motor control dysfunction in the background. Recognition of this provides a more nuanced understanding of the sensorimotor control deficits at play and can inform therapeutic options for this highly disabling disorder.

Exploring Hybrid Techniques for Enhanced Pitch Estimation in Speech Processing

aims: 1. To develop a hybrid approach combining the Pitch Estimation Filter (PEF) and Cepstrum Pitch Determination (CPD) methods for pitch detection in audio signals. 2. To conduct comparative analysis with existing pitch detection methodologies, including Normalized Correlation Function (NCF), Pitch Estimation Filter (PEF), Log-Harmonic Summation (LHS), Summation of Residual Harmonics (SRH) and Cepstrum Pitch Determination (CEP), to assess the performance and accuracy of the proposed hybrid approach. 3. To evaluate the effectiveness of the hybrid approach in various real-world applications such as speech recognition and music transcription, using performance metrics including Gross Pitch Error (GPE) and classification accuracy through a K-Nearest Neighbors (KNN) classifier. background: The study discussed the difficulties in assessing pitch detection algorithms in real-world applications, especially when it comes to audio synthesis and music production. Prominent performance metrics and criteria pertinent to pitch tracking in interactive music applications were identified by the authors through comprehensive user studies and surveys with audio engineers and professional musicians. The results demonstrated the need for user-centered design approaches in algorithm development and evaluation by emphasizing the significance of taking user preferences and practical requirements into account when evaluating the effectiveness of pitch detection algorithms. objective: 1. To develop a hybrid approach combining the Pitch Estimation Filter (PEF) and Cepstrum Pitch Determination (CPD) methods for pitch detection in audio signals. 2. To conduct comparative analysis with existing pitch detection methodologies, including Normalized Correlation Function (NCF), Pitch Estimation Filter (PEF), Log-Harmonic Summation (LHS), Summation of Residual Harmonics (SRH) and Cepstrum Pitch Determination (CEP), to assess the performance and accuracy of the proposed hybrid approach. 3. To evaluate the effectiveness of the hybrid approach in various real-world applications such as speech recognition and music transcription, using performance metrics including Gross Pitch Error (GPE) and classification accuracy through a K-Nearest Neighbors (KNN) classifier. method: Proposed PEF+CEP result: Finally, a comparison and analysis of different pitch detection techniques revealed how well they performed in terms of important evaluation metrics like accuracy, specificity, sensitivity, and gross pitch error (GPE). Conventional methods such as Normalized Correlation Function (NCF), Pitch Estimation Filter (PEF), Log-Harmonic Summation (LHS), Summation of Residual Harmonics(SRH) and Cepstrum Pitch Determination (CEP) perform admirably in terms of specificity and accuracy, but they are not very effective in terms of sensitivity and GPE. On the other hand, the suggested hybrid approach, Proposed PEF+CEP, offers a noteworthy enhancement in accuracy, attaining a remarkable 98.8%, in addition to a sensitivity of 99.2%. The hybrid approach exhibits a slightly higher GPE than some traditional methods, but these minor deviations are outweighed by the significant improvements in accuracy and sensitivity that it offers. Furthermore, the Proposed PEF+CEP method is a promising solution for reliable and accurate pitch detection in speech processing applications because it strikes a strong balance between computational efficiency, training time, model size, and convergence rate. The suggested method offers notable improvements in pitch detection accuracy and reliability while addressing the drawbacks of separate approaches by utilizing the advantages of both PEF and CEP techniques. As a result, the suggested PEF+CEP approach stands out as a significant advancement in speech processing, offering enhanced functionality and versatility in a range of real-world settings. conclusion: Finally, a comparison and analysis of different pitch detection techniques revealed how well they performed in terms of important evaluation metrics like accuracy, specificity, sensitivity, and gross pitch error (GPE). Conventional methods such as Normalized Correlation Function (NCF), Pitch Estimation Filter (PEF), Log-Harmonic Summation (LHS), Summation of Residual Harmonics(SRH) and Cepstrum Pitch Determination (CEP) perform admirably in terms of specificity and accuracy, but they are not very effective in terms of sensitivity and GPE. On the other hand, the suggested hybrid approach, Proposed PEF+CEP, offers a noteworthy enhancement in accuracy, attaining a remarkable 98.8%, in addition to a sensitivity of 99.2%. The hybrid approach exhibits a slightly higher GPE than some traditional methods, but these minor deviations are outweighed by the significant improvements in accuracy and sensitivity that it offers. Furthermore, the Proposed PEF+CEP method is a promising solution for reliable and accurate pitch detection in speech processing applications because it strikes a strong balance between computational efficiency, training time, model size, and convergence rate. The suggested method offers notable improvements in pitch detection accuracy and reliability while addressing the drawbacks of separate approaches by utilizing the advantages of both PEF and CEP techniques. As a result, the suggested PEF+CEP approach stands out as a significant advancement in speech processing, offering enhanced functionality and versatility in a range of real-world settings. Pitch detection algorithms could become even more complex and effective with more research and development in this area, enabling improvements in text-to-speech synthesis, speaker Identification, And Speech Recognition, Among Other Fields. other: Nil

Knowledge, Attitude and Practices (KAP) regarding hearing health and noise-induced hearing loss among folk/light music professionals from Chennai

Introduction: Musicians are exposed to music at high intensities and are at risk for developing noise- induced hearing loss (NIHL). Since hearing is so important to their career, they deserve special consideration. To avoid the deleterious effects of loud music, the professionals should be sensitized to the noise exposure and the use of strategies to prevent NIHL. The aim of the study is to determine the knowledge and attitude towards noise induced hearing disorders, and hearing conservative practices among professional musicians. Method: A KAP questionnaire was administered online to 136 professional musicians belonging to folk/ light music genre in Chennai. The participants were 115 males and 21 females, ranging in age from 18 to 75 years with the mean age of 29 (SD= 11). Results: The findings revealed that musicians were aware of the nature and cause of NIHL, but knowledge of NIHL prevention and treatment was limited to few. They had common misconceptions about the sources of harmful loud sounds, the effects of hearing loss, and hearing conservation strategies. Only a few participants reported to have used Ear Protective Devices (EPDs). Conclusion: Although musicians are aware of the risks of exposure to loud noise, they seldom use hearing protection. It is therefore vital to provide crucial information regarding NIHL and its prevention and promote musicians for better hearing preservation practices.

The Discipline of Female Bodiness in TikTok Visual Music

This article aims to examine the TikTok music phenomenon among generation Z. The author uses a qualitative case study approach using textual analysis and critical paradigms. The object of study described is the music content published by Idgitaf and Mahalini on their official TikTok channel. There are 2 main points as foundings: the construction of a participatory culture carried out through the Duet Challenge feature and new visual music standards through the Filter Challenge promoted by TikTok. This participatory culture normalizes the standards for duets or performing songs today that can be done by professional musicians with fans/ordinary TikTok users (amateur singers). The existence of TikTok's visual features also emphasizes that TikTok's current standardization of digital music forms must emphasize the quality and beauty of its visuals compared to its audio content.

Playing with data differently: engaging with autism and gender through participatory arts/music and a performative framework for analysis.

There are increasing demands for Participatory Arts-Based (PAB) programs involved in health research to better evidence outcomes using robust quantitative evaluation methodologies taken from science, such as standardized questionnaires, to inform commissioning and scale-up decisions. However, for PAB researchers trying to do this, barriers arise from fundamental interdisciplinary differences in values and contexts. Researchers are required to navigate the tensions between the practice-based evidence produced by the arts and the evidence-based practice sought by psychologists. Consequently, there is a need for interdisciplinary arts-science collaborations to produce alternative methods of evaluation that are better aligned to PAB approaches, and which combine systematic rigor with a sensitivity to the values, contexts and strengths of this approach. The current article centers on the development of an alternative transdisciplinary analytic tool, the Participatory arts Play Framework (PP-Framework), undertaken as part of an arts-psychology collaboration for a UK AHRC-funded PAB research project: Playing A/Part: Investigating the identities and experiences of autistic girls. We present details of three stages in the development of the PP-Framework: 1. preliminary emergence of the framework from initial video analysis of observational data from participatory music and sound workshops run for 6 adolescent autistic girls (aged 11-16); 2. identification and application of modes of engagement; and 3. further testing of the framework as an evaluation tool for use in a real-world setting, involving professional musicians engaged in delivery of a creative music project at a center for homeless people. The PP-Framework maps types of participation in terms of performative behaviors and qualities of experience, understood as modes of play. It functions as a vehicle for analyzing participant engagement, providing a tool predicated on the processes of working in creative participatory contexts while also being sensitive to the esthetic qualities of what is produced and capable of capturing beneficial changes in engagement. It offers a conceptual approach for researchers to undertake observation of participatory arts practices, taking account of embodied engagement and interaction processes. It is informed by understandings of autistic performativity and masking in conjunction with an ecological understanding of sense making as being shaped by environments, social relations and sensing subjectivity. The framework has the potential to be a bi-directional tool, with application for both practitioners and participants.

Sight-reading components across tonal and atonal environments in music: An exploratory analysis of performers’ self-assessed proficiency

Sight-reading poses persistent challenges for professional musicians, particularly those lacking adept sight-reading skills. Recognizing the practical implications of sight-reading as a facilitator of musical learning, scholarly endeavors have sought to identify the components that influence sight-reading proficiency. The focus on diverse tonal environments has surfaced as a key avenue for unveiling the complexities of tonality-related sight-reading skills. Against this backdrop, the present study delved into the intricate relationship between sight-reading components and tonal characteristics in music, employing performers’ self-assessments of their proficiencies in these domains. The findings revealed that sight-readers exhibit comparable self-assessments of their proficiency in sight-reading, but a significant disparity emerged between tonal and atonal sight-reading. Common predictors—rhythm reading, playing by ear, and performance techniques—emerged as influential factors explaining proficiency in both tonal and atonal sight-reading proficiency. In contrast, the predictors that include knowledge of tonal center, tonal function, and basic music theory were indicative for tonal sight-reading, while music interpretation and complexity of tonality were connected to atonal sight-reading proficiency. The findings highlight the useful integration of sight-reading components within diverse tonal environments, which offers flexibility, practicality, and adaptability in sight-readers’ practice.

The effects of musical practice on the well-being, mental health and social support of student, amateur, and professional musicians in Canada during the COVID-19 pandemic.

This pan-Canadian study investigates the effects of musical practice on the well-being, mental health, and social support of Canadian musicians during the COVID-19 pandemic. Using a survey questionnaire, data was collected from 1,618 participants aged 14 and above during the first wave of the pandemic up to the first half of 2022. The survey included standardized questionnaires to self-assess well-being (WHO-5), mental health (MHC-SF), and social support (SPS-10 measures social support). Results show that increased musical practice frequency correlates with improved well-being and mental health, particularly among amateurs. Professional musicians and those at a post-secondary level exhibit lower well-being scores, likely due to pandemic-related challenges. Factors such as age, gender, sports engagement, and participation in social clubs or volunteer work significantly influenced outcomes. While sports engagement was associated with higher scores on well-being, mental health and social support, no significant differences were found among participants engaged in artistic hobbies. As for involvement in social clubs or volunteer work, benefits were reported on two of the three outcomes. Overall, the findings suggest that regular amateur musical practice, especially in group settings, alongside engagement in sports and social activities, may have promoted well-being, mental health, and social support among musicians during the challenging period of the COVID-19 pandemic.

Prevalence of musculoskeletal pain and associated factors among professional orchestra musicians in Norway.

Orchestra musicians have a high risk of experiencing musculoskeletal problems. These problems may lead to sleep and psychological disturbance. This study investigated the occurrence of musculoskeletal pain (MSP) among orchestra musicians and the coherence between pain and predictors such as gender, age and instrument. Further, the impact of pain on sleep and mental health was analysed to assess pain as a predictor threatening musicians' wellbeing. Some 358 musicians in eight different professional orchestras in Norway completed a questionnaire. Questions about pain experienced within the last 30 days were based on a national survey. Standardised screening tools like the Hopkins Symptom Checklist-25 (HSCL-25) and Bergen Insomnia Scale (BIS) were used to assess psychological distress and sleeping problems. Kruskal-Wallis tests were used to analyse the differences in the pain-related variables: experienced pain severity (EPS), number of pain areas, and work being perceived as the source of pain based on age. Mann-Whitney U tests were conducted to evaluate the statistical significance between gender and the pain-related variables. Spearman's rank correlations were used to examine the relationship between EPS and BIS, HSCL-25 and pain area. Additionally, simple linear regression models were employed to determine whether EPS can predict higher scores on the HSCL-25 and BIS scales. The prevalence of MSP experienced in the last 30 days among orchestra musicians in Norway was 85%. Musicians experienced frequent pain regardless of their gender, age or instrument group. Neck, shoulders and upper back represented the most reported pain areas. Further, it was observed that increased EPS was correlated with an increase in the number of pain areas and in work being perceived as the source of pain. EPS significantly predicted sleep- and psychological distress. Orchestra musicians have a high risk of encountering MSP. Furthermore, their psychological distress and sleeping problems seem to be related to experienced MSP. To deliver optimal health, these problems should be handled simultaneously.

Brain Responses to Real and Imagined Interpretation of Tonal Versus Atonal Music

Professional musicians have been teaching/learning/interpreting Western classical tonal music for longer than atonal music. This may be reflected in their brain plasticity and playing efficiency. To test this idea, EEG connectivity networks (EEG-CNs) of expert cellists at rest and during real and imagined musical interpretation of tonal and atonal excerpts were analyzed. Graphs and connectomes were constructed as models of EEG-CNs, using functional connectivity measurements of EEG phase synchronization in different frequency bands. Tonal and atonal interpretation resulted in a global desynchronization/dysconnectivity versus resting—irrespective of frequency bands—particularly during imagined-interpretation. During the latter, the normalized local information-transfer efficiency (NLE) of graph-EEG-CN’s small-world structure at rest increased significantly during both tonal and atonal interpretation, and more significantly during atonal-interpretation. Regional results from the graphs/connectomes supported previous findings, but only certain EEG frequency bands. During imagined-interpretation, the number of disconnected regions and subnetworks, as well as regions with higher NLE, were greater in atonal-interpretation than in tonal-interpretation for delta/theta/gamma-EEG-CNs. The opposite was true during real-interpretation, specifically limited to alpha-EEG-CN. Our EEG-CN experimental paradigm revealed perceptual differences in musicians’ brains during tonal and atonal interpretations, particularly during imagined-interpretation, potentially due to differences in cognitive roots and brain plasticity for tonal and atonal music, which may affect the musicians’ interpretation.

Exploring the Composer-Performer-Teacher Role Complex in Fostering Creativity in Music Education

The article considers the interaction system between the processes of creating a musical composition, performance and pedagogy, which is currently a particularly topical issue. The main purpose of the article is to actualise the attention to this dilemma of representatives of the Ukrainian musical and pedagogical community, including composers, performers, teachers, and to comprehend the importance of the triune role complex. The article analyses the block “composer – performer – teacher” using the methods of historical and interdisciplinary approaches. Data different in nature, directions of musical activity constitute a single whole in real practice. The system of the educational process in various educational institutions, the problems of interaction between the teacher and the student, the specifics of the self-realisation of the individual in the creative musical area were also covered. In the course of the study, it was determined that composer creativity, performance and music education are carried out in the interaction process of such objects as music and pedagogy, teacher and student, various kinds of contacts among employees on creative and educational activities in terms of world and, in particular, Ukrainian culture. The practical significance of the study is to update and expand the scope of the modern educational system through the application of the trinity principles “composer – performer – teacher” in the process of mastering the curriculum. It is designed to make the interaction of professional musicians with the audience and students more effective, to create the conditions necessary for the training of musical personnel of the highest level, and also to form an awareness of the importance and equivalence of each of the components of this triad.

Design and Evaluation of a Collective Preventive Program for Musical Performance Anxiety (ConfiDance).

Musical performance anxiety (MPA) is considered a subtype of social phobia and affects musicians who must face musical exposure in public, potentially severely affecting their emotional stability and significantly impairing the quality of their performance. This research has utilized previous scientific knowledge on the issue and a qualitative approach to musicians' needs through focus groups in order to design a collective preventive program for MPA that could be implemented within the training curriculum of professional musicians. To evaluate the adequacy of the preventive program 'ConfiDance', a pilot test was conducted with a sample of 17 professional musicians in training, all post-graduate students in classical music performance. For the pilot test, a quasi-experimental model with a repeated measures methodology (pre-post and one-year follow-up after application) was carried out. The results indicate a significant decrease in MPA after the program implementation, with a notable improvement in effect one year post-application, demonstrating an even greater positive impact over time. These data should be interpreted cautiously due to sample limitations but represent an opportunity for the future implementation of a program that can prevent and treat MPA in music education centers.

Performance-related pain and disability among music students versus professional musicians: a multicenter study using a validated tool.

To evaluate prevalence of performance-related pain among musicians and compare pain characteristics, associated disability and approach to pain management, between music students and professional musicians. A multicenter cross-sectional study was performed in a multi-stage stratified cluster random sample of 585 musicians, stratified by music students (294, among which 234 were at pre-university level and 60 at university level) and professional musicians (291). The main outcome was performance-related pain, measured by Performance-related Pain among Musicians Questionnaire (PPAM). Secondary outcomes were: pain management approach, physical activity levels, fatigue, distress, and health-related quality of life. The lifetime prevalence of performance-related pain was 55.0% (n = 322), being significantly higher among professionals (57.5% vs 42.5%, P < .001). Pain intensity scores were significantly higher in professional musicians (P < .05), but pain interference in performance was higher among music students, who also reported significantly higher levels of fatigue (P = .008) and distress (P < .001), and lower quality of life (P < .001). Regardless of the high levels of pain intensity and interference, fatigue, anxiety and depression, and low levels of quality of life, 33% musicians who developed pain had never looked for healthcare (this proportion is significantly higher for music students, 57%, P < .001). We present the first multicenter study on performance-related pain among musicians with different backgrounds, using a validated tool, and distinguishing music students from professional musicians. Performance-related pain is a highly prevalent and disabling condition among musicians, however, its proper evaluation and management are still often underappreciated, contributing to significant impairments and reduced quality of life.

Literacy through Composition Techniques in the Chinese Yan Huang Style of Composer Bao Yuankai

Music composition, particularly within the Chinese Yan Huang style, holds significance for its artistic merit and potential to enhance literacy development and foster cultural appreciation. This study delves into the literacy composition techniques employed by composer Bao Yuankai within the Chinese Yan Huang style, focusing on the piece “Going to Jiangzhou.” The primary objective is to analyze the literacy composition techniques in the Chinese Yan Huang style of composer Bao Yuankai. Through a multidimensional approach integrating insights from music education, cultural studies, and literacy development, the study examines instrumentation, melody, harmony, and cultural symbolism in Yuankai’s compositions. Three key informants, including music scholars, professional musicians, and music educators, provide diverse perspectives on Yuankai’s works. Qualitative data analysis methods are employed to analyze insights gathered from interviews and observations. Findings reveal Yuankai’s adept use of traditional Chinese elements alongside modern composition techniques, resulting in compositions that resonate with audiences worldwide. Suggestions include incorporating culturally relevant content into music education curricula to enhance student’s literacy skills and cultural awareness.

The Impact of Music Perception on Quantitative Sensory Testing (QST).

Objective: The impact of listening to music on pain perception has been evaluated using questionnaires and numeric/visual analogue scales. In this study, the impact of music perception on sensory pain functions was measured by means of quantitative sensory testing. Methods: We enrolled 10 female and 10 male healthy subjects (10 of them were professional musicians). All subjects underwent, in total, four quantitative sensory testing measures (first: baseline; second: after pleasant music [Johannes Brahms, 3rd symphony, 3rd movement]; third: after unpleasant music [Krzysztof Penderecki, Threnos]; fourth: after a longer break). The pleasantness of music was evaluated using the Ertel differential scale. Results: After the participants listened to pleasant music, an increased sensitivity to cold stimuli (both threshold and pain), to mechanical stimuli (only for threshold), and to repeated stimuli (wind-up reaction) was noted. Listening to unpleasant music was not associated with changes in sensitivity. We did not observe any significant differences between male and female subjects or between musicians and non-musicians. There was no significant correlation between the rating of the music as pleasant/unpleasant and the different quantitative sensory testing measures. Conclusions: Our data show that listening to music inducing a pleasant feeling can increase the sensitivity to stimuli applied during a quantitative sensory testing session. This should be considered when performing or interpreting quantitative sensory testing examinations. Interestingly, this finding is in contrast to the observation that listening to music can decrease pain perception during painful procedures.