Instrument Players Research Articles

Intraocular Pressure Fluctuations and 24-Hour Continuous Monitoring for Glaucoma Risk in Wind Instrument Players.

The purpose of this study is to investigate the influence of playing a wind instrument on intraocular pressure (IOP) and to monitor 24-hour (IOP) fluctuations in wind musicians of symphony and wind orchestras to compare IOP levels during normal daily activities with IOP levels during playing. Professional and amateur musicians of symphony and wind orchestras were invited to participate. A total of 42 participants, 9 with glaucoma, underwent a routine ophthalmologic examination. IOP measurements were taken before and immediately after 20 minutes of playing wind instruments. In addition, 6 participants underwent 24-hour IOP monitoring with the Triggerfish (Sensimed AG, Switzerland) sensing contact lens, during which they kept an activity logbook. Eleven professionals and 31 amateur musicians participated in the study. A total of 7 eyes of 6 patients underwent additional 24-hour IOP monitoring. Mean IOP before playing was 13.6±2.6 mm Hg, IOP change after playing was +1.5±2.2 mm Hg with a significant difference between professionals (2.5±1.5 mm Hg) and amateurs (1.1±2.3 mm Hg). There were no significant differences in IOP change between subjects with or without glaucoma. During 24-hour IOP monitoring there were slight increases in IOP while playing an instrument, but also during other activities and overnight. These latter IOP levels were similar or even higher than the IOP rise caused by playing a wind instrument. IOP often rises after playing wind instruments, but similar or even higher IOP levels seem to occur during common other daily activities or at night. These peaks may be relevant for glaucomatous field progression and treatment of glaucoma patients.

The Philly Joe Jones Rudimental Soloing Style

Name: Marios Spyrou Main Subject: Jazz Drums Research Supervisor: Jarmo Hoogendijk Title of Research: The Philly Joe Jones Rudimental Soloing Style Research Question: How can classical exercises be incorporated into jazz improvisations and still sound spontaneous, creative and true to the jazz drumming idiom? Summary of Results: Before starting this research at the Royal Conservatoire of The Hague, I was not so aware as how to express myself and phrase on the drum set. By studying the history of the instrument, I have found out that all the great jazz drummers have adopted and incorporated the 26 American drum rudiments in their playing, which include several sticking patterns “borrowed” from the classical music and the Swiss Army drum corps. These rudiments are like scales for melodic – instrument players, who have to practice and know them very well in order to gain technique and express themselves on their instruments. The same applies to drummers using these 26 sticking patterns. While I was listening to the great jazz drummers, I discovered that a perfect example for this is Philly Joe Jones. You can clearly hear in his soloing that he is using these rudiments in his own unique way, making them sound swinging and therefore adopting them into the bebop drumming. I therefore decided to take Philly Joe as my main “model” for this research. I started transcribing his solos and analyzing his phrasing, making my own variations and phrases based on this rudimental approach. My final result is that I can know phrase on the drums and express myself freely whenever I have to take a solo, without copying or playing standard phrases from jazz drummers like I used to do in the past, while still sounding authentic and true to the jazz drumming style. Biography: Marios Spyrou was born in Nicosia in 1990. He was inspired by from an early age by his father, who is also a jazz drummer. At the age of 19 he enrolled in University of Nicosia from where he graduated. There he met the great Cypriot saxophonist Charis Ioannou and started being interested in Jazz music. He attended the Bicommunal Jazz Program seminars in Cyprus led by the great New York Jazz virtuosos Ari Roland, Chris Byars and other well-known Jazz musicians. While attending these seminars, Marios was influenced by the jazz drummer Keith Balla who introduced him into the world of bebop style. In 2015 he moved to The Hague, where he is currently studying with the legendary jazz drummer Eric Ineke. On May 2015 he won the second price of the 1st Apollon Jazz competition in Greece with the Cypriot jazz band BopCy.

A Literature Review of Pulmonary Function Test of Wind Instrument Players

A Literature Review of Pulmonary Function Test of Wind Instrument Players

A Hands-Free Music Score Turner Using Google Glass

ABSTRACTThis article presents an innovative use of wearable technology for music performers, allowing them to interact with a mobile application that runs as a hands-free music score turner between Google Glass and a portable device such as a smartphone or a tablet. Using wink detection feature and head motion sensing of Google Glass, the application enables users to send a trigger without using their hands to turn pages of documents displayed on a nearby mobile device. The impetus for this work was music instrument players who need to turn music score sheets during their performance.Beyond serving music performers, this project has potential benefits to users in any setting where restricted hand use makes it difficult to read documents or perform other computer-related tasks.

Развитие современной музыкальной культуры Тувы (взгляд из Японии)

Выпускница-филолог Университета Вако из г. Токио впервые услышала тувинскую музыку в 1999 г. на компакт диске всемирно известной группы «Хун-Хурту». Начала учиться исполнять хоомей. В 2000-х годах приезжала в Туву для участия в музыкальных фестивалях, а с 2006 г. осталась здесь для изучения музыкальных традиций. Автор наблюдает, что музыкальная жизнь Тувы не стоит на месте, а постоянно развивается. В статье делится результатами своих личных наблюдений и своими интересными соображениями о том, как и в какую сторону развивается тувинская музыка на современном этапе.Автор называет причины большого интереса японцев к тувинскому горловому пению. Жители урбанизированной страны испытывают дефицит «живых» впечатлений, оторваны от природы. В Японии почти не осталось сказителей и исполнителей на древних музыкальных инструментах, очень редким явлением стало чтение буддийскими ламами сутр. Грусть японцев по старинным звукам компенсируется звуками хоомея и тувинских песен, выражающих разные настроения, имеющих большое количество жанров. Удивительно многообразие тувинских музыкальных инструментов. Количество исполнителей хоомея в Японии постоянно растет. Японские исполнители хоомея каждый год приглашают тувинских хоомейжи к себе и сами также приезжают в Туву, в рамках программ по культурному обмену.Тувинские музыканты находятся в постоянном творческом поиске. В самой музыке также наблюдается разностороннее развитие. Интересным автор называет и опыт исполнения хоомея женщинами. Хоомей исполняется вместе с забытыми старинными мелодиями, своеобразны еще не известные варианты хоомея. В случае использования хоо­мея в сочетании с современными формами музицирования существенно видоизменяется контекст функционирования самого хоомея. Тем не менее у многих современных тувинских хоомейжи исполнение этого уникального искусства становится более однообразным. С каждым годом увеличивается и число иностранных исполнителей хоомея.

Observation of the vocal tract configuration while playing a woodwind instrument

Skillful players of brass instruments and reed woodwinds are able to control the vocal tract effectively and perform with intended pitches and sound qualities. The player’s vocal tract is, to a first approximation, connected with the instrument bore acoustically in series. If the magnitude of the vocal tract impedance is comparable with the bore impedance, the acoustic pressure in the mouth can then exert influences with a vibrating reed. However, studies reliant enough to confirm the configuration of the vocal tract while playing are limited. In this study, a magnetic resonance imaging (MRI) device was used to scan the vocal tract in three dimensions. The participant was an amateur saxophone player and the instrument was made from reed, mouthpiece, and a short uniform tube. Image data revealed how the vocal tract was formed when she blew a number of different notes. They were also used to determine the cross-sectional area and the input impedance of the vocal tract. The results were compared with trumpeter data taken and published previously, and also with data taken for the act of whistling. [This work was supported by JSPS KAKENHI Grant Number JP16K00242.]

관악기 연주가 유발할 수 있는 구강 안면 질환

Wind instruments are different from other musical instruments because they play with mouth. Perioral muscles, cranial bones, teeth, lips, and tongue participate in the performance. In addition, breathing from the lungs is transmitted to the musical instrument, and both hands are responsible for the fingertip, so the blowing can be defined as an active process of the neuromuscular system to accomplish breathing, embouchure and fingering.
 The purpose of this study is to describe the playing-related disorders among instrumental musicians by reviewing the papers on the disease published in between 1960 and 2016. We reviewed the disease reports of the wind instrument players and classified them into maloccusion, tooth problem, temporomandibular joint, orofacial muscle and skin. The review of these musculoskeletal disorders suggests the categories of diseases that can occur and makes it possible to utilize them as basic data for the study of performing art medicine. Based on this review, musicians should understand each disease and will be able to cope with the treatment.

Orofacial problems from the wind instrument

관악기는 앙부슈어를 취해 연주하므로 다른 악기들과 구분이 된다. 입 주위의 근육과 골격, 치아, 입술, 혀가 연주에 능동적으로 참여하는 것이다. 더불어 폐로부터의 호흡이 악기에 전달되고 두 손이 운지를 담당하므로 취주는 호흡과 앙부슈어, 운지를 완수하기 위한 근신경계의 능동적인 프로세스라고 정의할 수 있다. 악기 연습과 공연 연주가 이 복잡한 프로세스를 집중하므로 과하게 반복된 동작은 앙부슈어 관련 신체구조에 질환과 외상을 유발하기도 한다. 이에 본 연구는 국내외 취주악기 연주자 질환 보고에 대한 리뷰(review)를 통해 관악 연주가 유발할 수 있는 치과질환을 살펴보는 것을 목적으로 하였다. 심층적인 연구를 위해 1960년대부터 2016년 11월까지 50여 년 동안 동료검증(peer-review) 하에 이루어진 전문연주인들의 직업병 보고를 조사하였으며 부정교합, 치아질환, 측두하악장애, 근육질환, 피부질환으로 구분하고 검토하였다. 이러한 연주자 질환의 제(齊) 검토를 통해 발생 가능한 질환의 범주를 제시하고 연주자에게 지침을 제공하고자 한다. 이를 통해 공연연주의학 연구를 위한 기초자료로 활용할 수 있도록 하는 데에 본 종설의 의의가 있으며 나아가 치과의가 악기 연주가 유발할 수 있는 질환을 인식하고 능동적인 치료를 담당할 수 있을 것이다.Wind instruments are different from other musical instruments because they play with mouth. Perioral muscles, cranial bones, teeth, lips, and tongue participate in the performance. In addition, breathing from the lungs is transmitted to the musical instrument, and both hands are responsible for the fingertip, so the blowing can be defined as an active process of the neuromuscular system to accomplish breathing, embouchure and fingering. The purpose of this study is to describe the playing-related disorders among instrumental musicians by reviewing the papers on the disease published in between 1960 and 2016. We reviewed the disease reports of the wind instrument players and classified them into maloccusion, tooth problem, temporomandibular joint, orofacial muscle and skin. The review of these musculoskeletal disorders suggests the categories of diseases that can occur and makes it possible to utilize them as basic data for the study of performing art medicine. Based on this review, musicians should understand each disease and will be able to cope with the treatment.

Musik und Glaukom

Music may have multiple influences on the human organism. A possible therapeutic effect for patients with glaucoma has been postulated, aside from the known impact of music on the cardiovascular system, psychogenic effects and a short-term improvement in mental performance (Mozart effect). The higher level of mental stress in patients with glaucoma and type-A personality behaviour may be related to higher intraocular pressure in patients with glaucoma. Relaxing music may have a positive impact in these patients, related to a reduction in intraocular pressure or its fluctuations. However, only limited data exist on the effects of music on intraocular pressure. No clinical studies have yet been performed to investigate the effect of music or music therapy on glaucoma progression. The music of Mozart may influence visual field examinations, possibly due to a positive short term effect on mental performance. This factor needs to be addressed in studies dealing with the effect of music in glaucoma. The relevance of intraocular pressure increases in professional wind instrument players is controversial. An increased level of care might be advisable in patients with advanced glaucoma. The influences of music on humans, altered personality profiles in patients with glaucoma and the studies showing some effect of stress on intraocular pressure stress the relevance of psychological support for glaucoma patients, who are confronted with a disease with a high longterm risk of blindness.

Prevalence and Risk Factors of Playing-related Musculoskeletal Disorders among String Instrument Players in Malaysia

Prevalence and Risk Factors of Playing-related Musculoskeletal Disorders among String Instrument Players in Malaysia

Annexins: Ca2+ Effectors Determining Membrane Trafficking in the Late Endocytic Compartment.

Despite the discovery of annexins 40 years ago, we are just beginning to understand some of the functions of these still enigmatic proteins. Defined and characterized by their ability to bind anionic membrane lipids in a Ca2+-dependent manner, each annexin has to be considered a multifunctional protein, with a multitude of cellular locations and diverse activities. Underlying causes for this considerable functional diversity include their capability to associate with multiple cytosolic and membrane proteins. In recent years, the increasingly recognized establishment of membrane contact sites between subcellular compartments opens a new scenario for annexins as instrumental players to link Ca2+ signalling with the integration of membrane trafficking in many facets of cell physiology. In this chapter, we review and discuss current knowledge on the contribution of annexins in the biogenesis and functioning of the late endocytic compartment, affecting endo- and exocytic pathways in a variety of physiological consequences ranging from membrane repair, lysosomal exocytosis, to cell migration.

Relationship Between Wind Instrument Playing Habits and Symptoms of Temporomandibular Disorders in Non-Professional Musicians.

Background:In this study, we focused on the habits of wind instrumentalists as well as the presence of playing instruments, and investigated associations between the risk of temporomandibular disorders (TMD) and playing wind instruments in non-professional musicians.Material and Methods:Seventy-two non-professional players of wind instruments (instrument group) (mean(SD), 20.0(1.1) y; 42 women) and 66 non-players (control group) (22.0(2.6) y; 45 women) participated in this study. Factors were investigated using questionnaires (a screening questionnaire for TMD, instrument playing habits, years of experience, and time played per day).Result:The prevalence of a high risk of TMD was not significantly different between the instrument group (29.2%) and control group (21.2%). In the instrument group, the frequency of subjects who felt mouthpiece pressure in the high risk of TMD group (47.6%) was significantly greater than that in the low risk of TMD group (21.6%). Mouthpiece pressure was found to be a significant factor contributing to a high risk of TMD (odds ratio, 3.31; 95% CI, 1.12–9.79).Conclusion:This study suggests that pressure from the mouthpiece was one of the contributing factors related to a high risk of TMD in non-professional wind instrument players.

Bagpipe lung; a new type of interstitial lung disease?

Hypersensitivity pneumonitis (HP) is an inflammatory lung disease mediated by an immunological response to an inhaled antigen and can progress to disabling or fatal lung disease. It is related to...

The effect of blowing pressure, lip force and tonguing on transients: A study using a clarinet-playing machine

Wind instrument players control the initial and final transients of notes using breath, lips, and tonguing. This paper uses a clarinet-playing machine and high-speed camera to investigate how blowing pressure, lip force, and tonguing parameters affect transients. After tongue release, the reed quickly comes to rest, losing its mechanical energy. However, the changing aperture past the reed rapidly changes the airflow. For pressure above the oscillation threshold, successive interactions between reflections of this pulse of airflow and the reed produce an exponential increase in the sound. The rates r of exponential increase in the fundamental of the sound range from several tens to several hundreds of dB s(-1), as functions of blowing pressure and lip force. Because the reed's initial mechanical energy is lost, tongue force and acceleration have little effect on r. However, larger tongue force and acceleration produce more rapid changes in flow, which start notes sooner after tongue release. Further, large tongue force increases the third harmonic during the transient. There is a hysteresis region on the (pressure, lip force) plane where regenerative oscillation is not produced spontaneously by increasing blowing pressure only. Here, tongue action can initiate sustained notes at low pressure.

정악의 평조와 계면조 시김새 연구 －각 악기 연주자의 시김새 분석과 현악영산회상의 악조 검토를 중심으로 -

평조와 계면조 시김새의 차이점을 구명하여, 악조를 검토하는데 유효한 기준을 제시하는 것이 본 연구의 목적이다. 시김새 분석 결과의 객관성을 확보하기 위하여 각 악기 3명의 연주자를 대상으로 시김새에 관한 대담을 진행하였다. 그 결과 각 악기와 연주자 간에 공통적으로 나타나는 시김새를 파악할 수 있게 되었는데 그 내용은 다음과 같다. 평조 악곡에서 黃鍾은 농음하고 南呂로 하행할 때 추성한다. 林鍾은 계면조의 林鍾과는 달리仲呂로 진행할 때 퇴성이 아닌 평성(관악기)이나 추성(현악기)을 구사하며, 농음은 黃鍾에 비해 절제하여 구사한다. 나머지 구성음에서는 음계의 한 음 아래로 진행할 때 퇴성하며 두 음 아래로 진행할 때는 추성한다. 성악의 경우 평조 가곡의 黃鍾은 치켜 떨고, 林鍾은 仲呂로 진행할 때 추성 또는 치켜 떤 다음 추성하게 된다. 계면조 악곡에서 黃鍾은 굵은 농음을 구사하고, 仲呂에서는 평성 또는 푸는 농음을 구사한다. 林鍾은 평조와 달리 仲呂로 진행할 때 퇴성하며 관악기의 경우 음을 낮게 하여 농음한다. 仲呂는 높게 연주하고 林鍾을 낮게 연주함으로써 평조와는 다른 흐름을 유지하게 된다. 계면 가곡의 성악 은 반주 음악과는 달리 黃鍾, 仲呂, 林鍾의 3음으로 이루어져 있으며, 각 구성음의 시김새는 기악 과 동일하다. 시김새 분석 결과를 토대로 영산회상의 세 가지 악조론, 즉 복합 계면조, 黃鍾宮 平調, 仲呂宮 平調에 대하여 검토해 본 결과 세 악조론 모두 현행 음악의 시김새와 차이를 보이는 것으로 밝혀 졌다. 또 현행 현악영산회상의 연주가 레－미－솔－라－도의 음계에 계면조의 시김새를 더하여 구현되는 것임을 확인하였다.

The occurrence of musculoskeletal complaints among professional musicians: a systematic review.

PurposeThis study gives a systematic overview of the literature on the occurrence of musculoskeletal complaints in professional instrumental musicians.MethodsA systematic review. Nine literature databases were searched without time limits on June 25, 2015, also the complete index of the journal Medical Problems of Performing Artists (MPPA) until June 2015 (30;2) was searched, and citation tracking and reference checking of the selected articles were performed. The search consisted of the combination of three groups of keywords: musician (e.g., musician, violin, music student, instrument player) AND musculoskeletal (e.g., musculoskeletal, tendon, shoulder, arthritis) AND epidemiology (e.g., prevalence, incidence, occurrence).ResultsThe initial literature search strategy resulted in 1258 potentially relevant articles. Finally, 21 articles describing 5424 musicians were included in this review. Point prevalences of musculoskeletal complaints in professional musicians range between 9 and 68 %; 12-month prevalences range between 41 and 93 %; and lifetime prevalences range between 62 and 93 %. Ten out of 12 studies show a higher prevalence of musculoskeletal complaints among women. Brass instrumentalists are reported to have the lowest prevalence rates of musculoskeletal complaints. The neck and shoulders are the anatomic areas most affected; the elbows are least affected. Although some information is reported concerning age, the high risk of bias in and between these studies makes it impossible to present reliable statements with respect to this.ConclusionMusculoskeletal symptoms are highly prevalent among musicians, especially among women instrumentalists. Future research concerning the epidemiology of musculoskeletal complaints among musicians should focus on associated risk factors and follow the current guidelines to optimize scientific quality.

Agents of Change: Sustainability and Industry Trade Associations -- An Evolving Value Proposition

This work looks at the role of industry trade associations in the sustainability arena and probes the questions around how far these organizations have come along a business and society trajectory. Five industry associations, composed of global companies worth over $4.3 trillion incorporate membership revenues, form the basis of the case study, including: CEFIC, IFA, CGF, IFPMA, Crop Life. The conclusions suggest that as trade associations advance their activities towards sustainability goals, they will not only increase their ability to affect important global policy, they will also increase their value proposition for their member companies. In the past, one would typically not look to industry trade associations as having a hand in helping tackle some of society’s big problems. In fact, many trade associations had rather bleak track records when it came to advancing sustainability. Interviews and insights show a new energy and new investment of industry groups in addressing some of society’s greatest challenges. We see 'coalitions of the willing' converge around common goals and increasingly becoming instrumental players in key global policy debates. The research captures the activities of trade associations as “force multipliers”, working to: - Facilitate dialogue on global policy to tackle critical problems around, for example, nutrition, health, climate and employment; - Convene best-practice platforms to improve standards and performance; - Collaborate on research to fast-track innovations for new technologies, processes, products, and; - Develop tools and training programs to advance sustainability. Of interest to the corporate membership is how 'visible rivals’ work alongside their competition, as well as customers and suppliers with shared aims around social purpose and environmental stewardship. Interviews and discussions with key stakeholders highlight industry trade associations’ ability to: • attract resources and tackle larger challenges than companies can address on their own; • operate on longer time horizons than companies (driven by quarterly reports) or governments (driven by the daily news cycle); • plan and develop strategic partnerships; • identify essential resources, implement and, increasingly, evaluate programs; • predict megatrends and to shape those trends and, • steer their industry away from reactivity and toward a positive future vision that resonates with governments and the general public.

Vilniaus apylinkių etninis instrumentinis muzikavimas XX a.

In this article, based on the 2002 written material from the 14th ethnic instrumental expedition held in Vilnius district, collected data of 20th century’s folk musicians, their played music and used instruments is analyzed and summarized. There is the best this regions player with cymbals Piotr Kacianovskij remembered. The author conducted interviewing of 25 informants: 14 of them being bellow players (7 accordions, 5 folk accordions and 2 bajans), 4 fiddles and other instrument players (3 mandolins, 2 cymbals, 1 guitar and 1 balalaika). Two major types of instrumental ensembles used to exist in Vilnius district: string and mixed ensembles. In a researched region, ethnic instrumental music traditions were on the brink of extinction on the 2nd part of 20th century, and at the end of that century were barely encountered. The traditions of old folk music playing were not taken over, so this performing art is dwindling. But new traditions are forming.Key words: ethnic instrumental music-making, ethnic music, folk musicians, traditional ensembles, violin, folk accordion, ethnic and brought repertoire.

Effect of Changing the Vocal Tract Shape on the Sound Production of the Recorder: An Experimental and Theoretical Study

Changing the vocal tract shape is one of the techniques which can be used by the players of wind instruments to modify the quality of the sound. It has been intensely studied in the case of reed instruments but has received only little attention in the case of air-jet instruments. This paper presents a first study focused on changes in the vocal tract shape in recorder playing techniques. Measurements carried out with recorder players allow to identify techniques involving changes of the mouth shape as well as consequences on the sound. A second experiment performed in laboratory mimics the coupling with the vocal tract on an artificial mouth. The phase of the transfer function between the instrument and the mouth of the player is identified to be the relevant parameter of the coupling. It is shown to have consequences on the spectral content in terms of energy distribution among the even and odd harmonics, as well as on the stability of the first two oscillating regimes. The results gathered from the two experiments allow to develop a simplified model of sound production including the effect of changing the vocal tract shape. It is based on the modification of the jet instabilities due to the pulsating emerging jet. Two kinds of instabilities, symmetric and anti-symmetric, with respect to the stream axis, are controlled by the coupling with the vocal tract and the acoustic oscillation within the pipe, respectively. The symmetry properties of the flow are mapped on the temporal formulation of the source term, predicting a change in the even / odd harmonics energy distribution. The predictions are in qualitative agreement with the experimental observations.

Symptoms of anxiety and depression among Norwegian musicians compared to the general workforce

In order to investigate mental health problems among professional musicians, we estimate the prevalence of symptoms of anxiety and depression (psychological distress) among musicians compared to the general workforce. A total sample of 1,607 musicians from the Norwegian Musicians Union answered an online questionnaire about demographic characteristics, lifestyle and symptoms of anxiety and depression. They were compared to a sample of the Norwegian workforce ( n = 2,550) drawn from the Norwegian survey of level of living 2012. Based on logistic regression analysis adjusting for age, sex, education level, smoking status, alcohol usage, use of drugs, physical exercise and financial status, we compared anxiety and depression symptom levels in musicians to a variety of professions. Psychological distress was more prevalent among musicians than in the total workforce sample. Solo/lead performers, vocalists, keyboard instrument players and musicians playing within the traditional music genre reported the highest prevalence. Further research needs to map the psychosocial and personal factors contributing to the higher degree of depression and anxiety symptoms among musicians, as well as establishing evidence-based preventative measures.