Most investigations of musical performance anxiety have employed quantitative methodologies. Whereas such methodologies can provide useful insights into the measurable aspects of the experience in a larger group of participants, the complexity, subtlety and individuality of the emotional experience and the importance of the individual’s interpretation of it are often overlooked. This study employed a phenomenological approach to investigate the lived, subjective experience of performance anxiety, as described in professional musicians’ narratives. Semi-structured interviews with four professional musicians (two (...) males, two females) specializing in Western classical and jazz music genres were conducted and analyzed using Interpretative Phenomenological Analysis (IPA). The analysis revealed the presence of four overarching themes: (1) Intensity of performance anxiety experience, (2) perceived effects, (3) development of coping strategies, and (4) achieving release from anxiety. Findings suggest that the lived experience of performance anxiety is multifaceted, characterized by a physical and a psychological dimension. Interpretative Phenomenological Analysis is a useful research tool that can facilitate our understanding of the subjective experience of performance anxiety (how it is felt and understood at an individual level) and can thus be useful in the development of tailor-made intervention programs for musicians. (shrink)

It is important to create a framework in the education of professional musicians, whether these musicians are students of music education, performance, composition, musicology, ethnomusicology, or conducting, in which the political dimensions of their lives can be critically examined. Lise Vaugeois argues that creating such a framework would enhance their capacity to thrive as musicians and to function responsibly and pro-actively as citizens in a democracy. By exploring issues pertaining to musicians as workers, teachers, and cultural producers, she examines (...) materiality, ideology, and power in the lives of university and conservatory educated musicians. These examples are followed by an introduction to critical pedagogy, in particular, the work of Paulo Freire, and some of the tools and premises critical pedagogy brings to questions raised in the paper. Strategies and resources that could support a shift in the culture of professional music schools conclude the paper. (shrink)

In the past 2 years our world has experienced huge disruptions because of COVID-19. The performing arts has not been insulated from these tumultuous events with the entire music industry being thrown into a state of instability due to the paralyzing effects of the COVID-19 pandemic. In this study, we examined how classical professional musicians’ ability to cope with uncertainty, economic struggles, and work-life interplay during COVID-19 was influenced by various factors that affect a crucial part of the development (...) and sustainment of music careers: musicians’ practice. We analyzed responses to an online survey of 309 classical performing musicians from 41 countries in Europe and Latin America across three pandemic stages: immediately before the pandemic, during the pandemic, and when vaccines were being made available and lockdowns were being reduced or lifted. Structural equation modeling indicates relationships between perceptions of threat at the peak of the pandemic and the musicians Self- or External-Based Motivation for the three periods in which respondents were asked to reflect. Findings suggest that musicians who are more internally self-motivated seemed to be more resilient to the pandemic threats and more capable of managing their practicing routines, whereas more externally motivated musicians experienced a reduction in their dedicated time to practice during lockdown. We suggest pedagogical and policy implications, as well as future lines of research that are oriented toward supporting professional musicians in assessing and understanding their motivational drives so that they can cope with situations that disrupt their professional lives. (shrink)

This study compared professional and amateur classical musicians matched for age, gender, and education on reaction times during the Stroop color-word test, brainwaves during an auditory ERP task and during paired reaction-time tasks, responses on the Gibbs Sociomoral Reflection questionnaire, and self-reported frequencies of peak experiences. Professional musicians were characterized by: lower color-word interference effects , faster categorization of rare expected stimuli , and a trend for faster processing of rare unexpected stimuli , higher scores on the Sociomoral (...) Reflection questionnaire, and more frequent peak experiences during rest, tasks, and sleep. Both groups had high values on the Brain Integration Scale. These findings are interpreted in light of a Unified Theory of Performance, which posits that effectiveness in any area is influenced by one’s level of mind-brain development—emotional, cognitive, moral, ego and cortical development—with higher mind-brain development supporting greater effectiveness in any domain. (shrink)

In some musical genres, professional performers play live shows many times a week. Arduous touring schedules bring encounters with wildly diverse audiences across many different performance ecologies. We investigate the kinds of creativity involved in such repeated live performance, kinds of creativity that are quite unlike songwriting and recording, and examine the central factors that influence musicians’ wellbeing over the course of a tour. The perspective of the professional musician has been underrepresented in research on relations between (...) music and wellbeing, with little attention given to the experience of touring. In this case study, we investigate influences on positive and negative performance experiences for the four professional musicians of Australian pop/rock band Cloud Control. Geeves conducted intensive cognitive ethnographic fieldwork with Cloud Control members over a two-week national Australian tour for their second album, Dream Cave (2013). Adapting a Grounded Theory approach to data analysis, we found the level of wellbeing musicians reported and displayed on tour to be intimately linked to their creative performance experiences through the two emergent, overarching and interdependent themes of Performance Headspace (PH) and Connection with Audience (CA). We explore these themes in detail and provide examples to demonstrate how PH and CA can feed off each other in virtuous ways that positively shape musicians’ wellbeing, or loop in vicious ways that negatively shape musicians’ wellbeing. We argue that their creative practice, in thus re-enacting musical performance afresh in each venue’s distinctive setting, emerges within unique constraints each night, and is in a sense a co-creation of the crowd and the band. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Musician's Way: A Guide to Practice, Performance, and WellnessSusanna P. GarciaGerald Klickstein, The Musician's Way: A Guide to Practice, Performance, and Wellness (Oxford University Press: New York, 2009)Directed towards college music majors studying the Western classical tradition, The Musician's Way articulates both an artistic approach to attaining mastery of an instrument/voice and a practical approach to achieving professional goals. Its treatment of these (...) topics is comprehensive, addressing, in addition to practical needs, the physical and psychological demands of functioning as a professional musician. Gerald Klickstein, a classical guitarist and teacher at the University of North Carolina School of the Arts, says that he intends the book to be "a beacon on your journey towards limitless artistic growth" (p. vi).The Musician's Way is organized into three sections: "Artful Practice," "Fearless Performance," and "Lifelong Creativity." Klickstein treats these subjects, not as separate and unrelated topics, but as interdependent elements necessary for long-term musical success. The Musician's Way is uniquely holistic. It encourages aspiring musicians to approach their study as a process that will take place over the course of a lifetime. The Musician's Way is not a research-based text. It is rather a practical self-help manual, filled with the wisdom gained in Klickstein's thirty years in the performing and teaching professions.At the outset, I should state that I am writing this review from two perspectives: [End Page 100] as a professor of piano at a mid-size public university, and as an experienced performer with a touring piano-duo. These experiences inform my critique of Klickstein's book.In "Artful Practice," Klickstein takes on the heroic task of defining both the 'what' and the 'how' of practicing. Mastery of the art of practicing is a precondition for musical success, yet it is not uncommon for students to enter college poorly schooled in the habits they will need for success in school and the professional world. In my undergraduate piano studio, for example, much of a student's first semester or even a full year may be spent acquiring proper practice and repertoire management techniques. Many students are unaware that artistic performance requires more than correct notes and rhythms. The habit of empty repetitions—playing something over and over again without setting specific goals or applying any critique—is common. Some students do not possess the listening skills necessary to enable critical assessments about their performance. For others, memorization requirements pose a serious challenge. This is often exacerbated by a lack of knowledge of theory or poor general musicianship skills. Managing a large body of repertoire in preparation for juries and recitals is a new frontier. Many students are unaccustomed to a more demanding practice and rehearsal schedule. A sudden increase in time spent on their instrument may result in temporary injury or chronic pain. There are, of course, many other psychological and social issues that arise when students transition to university life.Klickstein understands this and he attempts to quantify every facet of practicing in painstaking detail. No element is too small to warrant inclusion in one of his many lists and subsequent discussions. Initially, I found this penchant tedious. However, there were always items on his list that I would not have thought to mention to a student. For example, Klickstein's advice on outfitting a practice room lists the obvious necessities: a suitable chair, music stand, metronome, and pencil. However, he also discusses equally essential yet sometimes overlooked items, such as a bottle of water, adequate lighting and climate control, and hearing protection. This mundane example is illustrative of the meticulousness of his approach throughout the book.One of the most useful proposals in The Musician's Way involves the organization of practice sessions. Many students habitually prepare for very short term goals: lessons, studio class performances—whatever is just around the next corner. Juries, in which students are expected to prepare a short program of compositions, are intended to be a step along the way to longer, more significant performances such as upper division barriers and junior and senior recitals. Students have difficulty managing their practice time to continuously cycle... (shrink)

Seeking to expand on previous theories, this paper explores the AIR (Applying Intelligence to the Reflexes) approach to expert performance previously outlined by Geeves, Christensen, Sutton and McIlwain (2008). Data gathered from a semi-structured interview investigating the performance experience of Jeremy Kelshaw (JK), a professional musician, is explored. Although JK’s experience of music performance contains inherently uncertain elements, his phenomenological description of an ideal performance is tied to notions of vibe, connection and environment. The dynamic nature of music (...) performance advocated by the AIR approach is illustrated by the strategies that JK implements during performance. Through executing these strategies, JK attempts to increase the likelihood of vibe and connection by selectively exercising agency over performance variables within his control. In order to achieve this, JK must engage in ongoing monitoring of his performance, whereby the spotlight of his attention pans across a vast array of disparate performance processes (and levels within these processes) in order to ascertain how he can most effectively meet the specific demands of a given performance situation. It is hoped that future research compiling data from numerous interviews and sources as well as using different research methodologies will further unlock the potential that the AIR approach holds for understanding expert performance. (shrink)

The authors consider the important problem of creative expression of a musician-teacher for modern musical pedagogy. Based on the analysis of research literature, the content and functions of creative expression in musical and performing activities are revealed. It is characterized by the aesthetic nature of creative self-expression, internal harmony of will, emotional and intellectual intents of self-expression.

The introduction of social distancing, as part of efforts to try and curb the spread of the COVID-19 pandemic, has brought about drastic disruption to the world of the performing arts. In the UK the majority of professional orchestral musicians are freelance and therefore self-employed. These players, previously engaged in enjoyable, busy, successful, portfolio careers, are currently unable to earn a living carrying out their everyday work of performing music, and their future working lives are surrounded by great uncertainty. (...) The aim of the present study was to examine how established professional musicians are experiencing this period, and to look for similarities and differences between the experiences of musicians in the middle of their performing careers, with those of older players. Single semi-structured interviews were carried out over Zoom with 24 freelance, self-employed orchestral musicians; 12 mid-career musicians aged 35–45, and 12 seasoned musicians aged 53 and over. Thematic analysis identified themes common to both groups: the loss of a much-loved performing career, missing music making and colleagues, and anxiety about the future of the music profession. It also identified differences between the two groups: challenges to their identity as a musician, the extent of their anxiety about finances, the extent of their emotional distress, attitudes toward practicing and engaging in collaborative music making, and confusion over future career plans. Findings are discussed with reference to lifespan models of musicians' career development, the PERMA model of wellbeing, and the concept of resilience. (shrink)

Musicians’ Focal Dystonia is a task-specific neurological movement disorder, affecting 1–2% of highly skilled musicians. The condition can impair motor function by creating involuntary movements, predominantly in the upper extremities or the embouchure. The pathophysiology of the disorder is not fully understood, and complete recovery is extremely rare. While most of the literature views the condition through a neurological lens, a handful of recent studies point out certain psychological traits and the presence of adverse playing-related experiences and preceding trauma as (...) possible contributors to the onset. The nature and the frequency of these factors, however, are under-researched. The present quasi-experimental study aimed to compare musicians with and without MFD in terms of the frequency of various adverse psychosocial and psychological factors to explore their contribution to the onset of the condition. Professional musicians with MFD and without MFD were recruited from online platforms, musicians’ unions, and organisations to fill out a survey. The survey was based on two previously conducted interview studies and included the Student-Instructor Relationship Scale, the Mistake Rumination Scale, the Trauma History Screen, and self-constructed questions about the received music education, early success, and personal experiences. To identify potential risk factors, independent samples t-tests were conducted and found that there are significant differences in musicians with and without MFD in terms of mistake rumination, early success, and the received music education. A logistic regression showed that six factors contributed to the construct to various extents; we observed a significant model [χ2 = 22.681, p < 0.001], which predicted 71.2% of the cases correctly. This exploratory study shows that psychological and psychosocial factors might play a role in the development of MFD. Understanding these in more detail could inform preventative strategies and complement the current therapeutic approaches to support this vulnerable population better. (shrink)

To this day, the study of the substratum of thought and its implied mechanisms is rarely directly addressed. Nowadays, systemic approaches based on introspective methodologies are no longer fashionable and are often overlooked or ignored. Most frequently, reductionist approaches are followed for deciphering the neuronal circuits functionally associated with cognitive processes. However, we argue that systemic studies of individual thought may still contribute to a useful and complementary description of the multimodal nature of perception, because they can take into account (...) individual diversity while still identifying the common features of perceptual processes. We propose to address this question by looking at one possible task for recognition of a “signifying sound”, as an example of conceptual grasping of a perceptual response. By adopting a mixed approach combining qualitative analyses of interviews based on introspection with quantitative statistical analyses carried out on the resulting categorization, this study describes a variety of mental strategies used by musicians to identify notes’ pitch. Sixty-seven musicians (music students and professionals) were interviewed, revealing that musicians utilize intermediate steps during note identification by selecting or activating cognitive bricks that help construct and reach the correct decision. We named these elements “mental anchorpoints”. Although the anchorpoints are not universal, and differ between individuals, they can be grouped into categories related to three main sensory modalities – auditory, visual and kinesthetic. Such categorization enabled us to characterize the mental representations that allow musicians to name notes in relationship to eleven basic typologies of anchorpoints. We propose a conceptual framework which summarizes the process of note identification in five steps, starting from sensory detection and ending with the verbalization of the note pitch, passing through the pivotal role of mental anchorpoints and mental representations. We found that musicians use multiple strategies and select individual combinations of mental anchorpoints belonging to these three different sensory modalities both in isolation and in combination. (shrink)

Motor skills of professional musicians can be regarded as a model to investigate human skill acquisition after prolonged practice. Although rhythmic tapping skills of musicians such as drummers and pianists were investigated previously, the tapping performance of hand percussionists is still largely unknown. In this study, we investigated the tapping performance of professional and amateur darbuka players. Three tapping tasks were performed: single-, double-, and triple-finger tapping tasks. The participants were asked to tap as fast as possible for (...) 12 s in the single-finger tapping task while they tapped as fast and alternate/even as possible in the double- and triple-finger tapping tasks. The tapping speed and variability of inter-tap interval and tapping amplitude were assessed for each task. In the single-finger and triple-finger tapping tasks, there was no significant difference in the tapping speed between the professional and amateur darbuka players. In the double-finger tapping task, the tapping speed was significantly faster in the professional players than the amateur players. Interestingly, the professional players showed faster tapping speed in both familiar and unfamiliar patterns of finger coordination. The tapping speed of the double-finger tapping task was significantly correlated with the duration and the age of commencement of darbuka training. The professional players also showed less variability of ITI and tapping amplitude compared to the amateur players. These results suggest that prolonged practice of the hand percussion increases the performance stability and coordination speed of both familiar and unfamiliar patterns. (shrink)

Training can influence behavioral performance and lead to brain reorganization. In particular, training in one modality, for example, auditory, can improve performance in another modality, for example, visual. Previous research suggests that one of the mechanisms behind this phenomenon could be the cross-modal recruitment of the sensory areas, for example, the auditory cortex. Studying expert musicians offers a chance to explore this process. Rhythm is an aspect of music that can be presented in various modalities. We designed an fMRI experiment (...) in which professional pianists and non-musicians discriminated between two sequences of rhythms presented auditorily or visually. Behavioral results showed that musicians performed in both visual and auditory rhythmic tasks better than non-musicians. We found no significant between-group differences in fMRI activations within the auditory cortex. However, we observed that musicians had increased activation in the right Inferior Parietal Lobe when compared to non-musicians. We conclude that the musicians’ superior visual rhythm discrimination is not related to cross-modal recruitment of the auditory cortex; instead, it could be related to activation in higher-level, multimodal areas in the cortex. (shrink)

Professional musicians are expected to perform at a very high level of proficiency. Many times, this high standard is associated with perfectionism, which has been shown to prompt both adaptive and maladaptive motivational dynamics and outcomes among music students. The question about how perfectionism interplays with motivational dynamics in music students is still unanswered and research within this line is scarce, especially in Latin America. In the light of Self-Determination Theory, this cross-sectional study investigated the relationship between the perceptions (...) of motivational context, basic psychological needs, perfectionism, and flourishing in University music students from Lima, Peru. We performed a path analysis testing a model in which motivational teaching styles predicted both, perfectionism and flourishing via need satisfaction and frustration. The model's fit indices were ideal [χ2 = 7.48, p = 0.300, CFI = 0.998, TLI = 0.992, RMSEA = 0.021, SRMR =0.040]. In this model, perceived autonomy supportive style predicted need satisfaction positively and need frustration negatively; perceived controlling teaching style did not predict need satisfaction nor frustration. In turn, need satisfaction positively predicted adaptive perfectionism and flourishing; whereas, need frustration predicted maladaptive perfectionism. These results shed light on the relevance of perfectionism in the psychology of higher music education students. Lastly, we highlight the importance of autonomy support in fostering adaptive high standards and flourishing in music learning. (shrink)

What professional musicians say and do affects the attitudes and actions of music educators in the classroom. One example comes from influential conductor/composer, Gunther Schuller, who, in his controversial 1997 book, The Compleat Conductor, defines, espouses, and recommends his own “philosophy of conducting.” An examination of his ideas and, more importantly, the assumptions that premise them, demonstrates that Schuller fails to situate his beliefs within the larger historical framework of aesthetic philosophy. It also serves as a useful example of (...) how we, as conductor/educators, are prone to distance ourselves from educational philosophy as a product of the systematic examination of beliefs. This is dangerous because, through conducting, one necessarily reinforces a philosophy of music, which is itself situated within the general realm of aesthetic philosophy. This paper summarizes Shuller’s interpretation of conducting, identifies the unarticulated realist and idealist assumptions within, critiques his “philosophy,” and discusses the implications of this prescriptive approach to instrumental music education. (shrink)

The situational context within which an activity takes place, as well as the personality characteristics of individuals shape the types of strategies people choose in order to regulate their emotions, especially when confronted with challenging or undesirable situations. Taking self-regulation as the framework to study emotions in relation to learning and performing chamber music canon repertoire, this quasi-experimental and intra-individual study focused on the self-rated emotional states of a professional classical cellist during long-term sustained practice across 100-weeks. This helped (...) to develop greater awareness of different emotions and how they vary over artistic events (9 profiled concerts and 1 commercially recorded album). Data analysis included traditional psychometric measurements to test the internal consistency of the time series data as well as the relationship between variables (artistic events). The study mapped the cellist’s flexible regulation of 17 different positive and negative emotions empirically linked to learning and achievement while practicing within the social context of performing music publicly at a high level. Findings arising from the study help with understandings of how to support musicians to maximize their artistic potential by reducing emotion dysregulation and strengthening the types of adaptive methods that enable them to manage their own emotions. (shrink)

This article examines the ethical foundations within classical music performance. It argues that phronesis (practical wisdom) is crucial in navigating the ethical challenges faced by musicians, addressing the tension between distinct normative constraints as well as enhancing musicians’ ethical awareness and decision-making in their practice. Among these ethical concerns is the responsibility to balance respecting the work’s integrity and pursuing originality. On these grounds, we argue further that phronesis serves a broader function, enabling musicians to fulfil effectively their role responsibility (...) to composers, peers, and audiences. (shrink)

The aim of the article is to illuminate the idea that humility – understood as self-knowledge and a relational virtue in the Thomistic sense – is essential for professional excellence in music. The article begins by examining contemporary interpretations of humility and then refers to the conceptions of Augustine and Thomas Aquinas. It argues that 1) Aquinas’s conception of humility aligns well with current understandings of humility among professional musicians in Western classical music; 2) humility can be considered (...) a role-specific virtue in music; and 3) high-level musical practice serves as a form of training in the virtue of humility. The article then draws on studies by social scientists and testimonies from professional musicians and conductors to explore how humility is manifested and actualized in music, particularly concerning self-knowledge and excellence. (shrink)

The aim of the article is to illuminate the idea that humility – understood as self-knowledge and a relational virtue in the Thomistic sense – is essential for professional excellence in music. The article begins by examining contemporary interpretations of humility and then refers to the conceptions of Augustine and Thomas Aquinas. It argues that 1) Aquinas’s conception of humility aligns well with current understandings of humility among professional musicians in Western classical music; 2) humility can be considered (...) a role-specific virtue in music; and 3) high-level musical practice serves as a form of training in the virtue of humility. The article then draws on studies by social scientists and testimonies from professional musicians and conductors to explore how humility is manifested and actualized in music, particularly concerning self-knowledge and excellence. (shrink)

Music impacting on speech processing is vividly evidenced in most reports involving professional musicians, while the question of whether the facilitative effects of music are limited to experts or may extend to amateurs remains to be resolved. Previous research has suggested that analogous to language experience, musicianship also modulates lexical tone perception but the influence of amateur musical experience in adulthood is poorly understood. Furthermore, little is known about how acoustic information and phonological information of lexical tones are processed (...) by amateur musicians. This study aimed to provide neural evidence of cortical plasticity by examining categorical perception of lexical tones in Chinese adults with amateur musical experience relative to the non-musician counterparts. Fifteen adult Chinese amateur musicians and an equal number of non-musicians participated in an event-related potential (ERP) experiment. Their mismatch negativities (MMNs) to lexical tones from Mandarin Tone 2–Tone 4 continuum and non-speech tone analogs were measured. It was hypothesized that amateur musicians would exhibit different MMNs to their non-musician counterparts in processing two aspects of information in lexical tones. Results showed that the MMN mean amplitude evoked by within-category deviants was significantly larger for amateur musicians than non-musicians regardless of speech or non-speech condition. This implies the strengthened processing of acoustic information by adult amateur musicians without the need of focused attention, as the detection of subtle acoustic nuances of pitch was measurably improved. In addition, the MMN peak latency elicited by across-category deviants was significantly shorter than that by within-category deviants for both groups, indicative of the earlier processing of phonological information than acoustic information of lexical tones at the pre-attentive stage. The results mentioned above suggest that cortical plasticity can still be induced in adulthood, hence non-musicians should be defined more strictly than before. Besides, the current study enlarges the population demonstrating the beneficial effects of musical experience on perceptual and cognitive functions, namely, the effects of enhanced speech processing from music are not confined to a small group of experts but extend to a large population of amateurs. (shrink)

ABSTRACT This paper suggests a much more serious purpose for an education in music-making than play or pleasure or even the training of professional musicians. It presents and explicates a possible connection between musical performance training and the development of practical wisdom. Music in performance constitutes in effect a form of virtuous conduct, where one learns through doing and thereafter comes to love and to be capable of wise practical judgement. Excellence in this field requires the exercise of a (...) species of reasoning and judgement analogous to Aristotelian practical wisdom, and develops the distinctive qualities of character and vision of the practically wise person. (shrink)

"The constant student of philosophy is merely the professional musician of reflective thought."President Theodore Roosevelt's warning mirrored the public's outrage: "When compared with the suppression of anarchy, every other question sinks into insignificance."2 In March 1908 when Chicago Police Chief George Shippy shot Lazarus Averbuch, claiming self-defense against an anarchist plot, a supporting public filled the air with denunciations against such lawless traitors. Jane Addams refused to join the outcry, declaring that social settlement houses had the obligation to (...) interpret rather than denounce. While interpretation is recognized as a major intellectual category for some of the classical American pragmatists.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 17-29 [Access article in PDF] Intersections Form, Feeling, and Isomorphism Mary J. Reichling University of Louisiana at Lafayette These three concepts hold meanings that differ among musicians and aestheticians. In this essay I shall explore them in the writings of Susanne Langer. Contemporary musicians and aestheticians continue today to engage Langer albeit some favorably and others with disdain. Whatever their reasons, she (...) remains a dominant force in the philosophy of music.1 My purpose is not to defend her against her detractors, but rather to examine and to elucidate various aspects of these three concepts in her writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education.First, I consider the broad and complex notion of form and the various ways Langer employs it in her aesthetic theory. Next, the rather all-encompassing idea of feeling as Langer conceives it is studied in relation to the form of the musical work. The intersection of form and feeling in the concept of isomorphism concludes the discussion. [End Page 17] Form In her various writings Langer uses several adjectives associated with the word "form" which seem to organize well into three groups. The first concerns the dynamic, living, organic, and vital qualities of form; the second speaks to its logical and abstract nature; and the last relates to the emotional or feeling aspect of form including expressive and significant characteristics.2 These groupings overlap and intertwine, but focusing on each specifically rather than all as a totality offers important insights.Form as dynamic, living, organic, and vital suggests metaphorical reference. Obviously the form is not physically, biologically, alive; reference is to the apparent movement, growth, and aliveness of the musical form as it is heard or performed. Thus this idea of form implies an actual performance to be realized or perceived. Langer is sometimes criticized for giving little attention to the actual making of music, that is, performance, yet her theory assumes music as heard. Essential to perceiving a dynamic form or hearing a feeling is a processual event, namely, performance or listening to a performance. Rarely a professional musician or gifted amateur might be able to engage this concept of form by reading through a score and hearing the music in imagination.Dynamic form parallels Eduard Hanslick's notion of tonend bewegte Formen. One might object that Hanslick and Langer are in conflict as Hanslick opposes while Langer supports the conviction that form is expressive of feeling, but that is moving beyond the matter at hand and suggests a superficial reading of both Hanslick and Langer. Hanslick asserts emphatically that music's meaning is not the arousal of emotion but does not deny feeling in music; Langer holds the same view. But Hanslick allows that "the words content and form are used not in the purely logical, but in an artistic sense." To me this suggests that he recognizes a nonliteral or metaphorical interpretation. He writes about the relationship of musical tones as "fraught with significance... congruity and opposition, their separating and combining, their soaring and subsiding-this is what comes in spontaneous forms before our inner contemplation and pleases us as beautiful." Certainly this parallels Langer's description of dynamic form.3 What is significant is that both philosophers are addressing the fluid, processual, active, movement-of-notes-through-time nature of musical form.The premise that forms are created by motion, are dynamic, is easily grasped by offering some examples. Fast cameras are able to take a series of photos of the movements of a pianist's hands giving still pictures of the moving forms created while performing a given passage.4 Alternately, forms are created by the movements of clouds or fog through the mist and early light; they are, in effect, quite literally moving forms. Cartoon characters generate moving forms through the [End Page 18] use of many drawings or more recently by means of computer animation. Time is a dynamic or moving form which we divide into hours... (shrink)

It seems trivial to identify sound sequences as music or speech, particularly when the sequences come from different sound sources, such as an orchestra and a human voice. Can we also easily distinguish these categories when the sequence comes from the same sound source? On the basis of which acoustic features? We investigated these questions by examining listeners’ classification of sound sequences performed by an instrument intertwining both speech and music: the dùndún talking drum. The dùndún is commonly used in (...) south-west Nigeria as a musical instrument but is also perfectly fit for linguistic usage in what has been described as speech surrogates in Africa. One hundred seven participants from diverse geographical locations (15 different mother tongues represented) took part in an online experiment. Fifty-one participants reported being familiar with the dùndún talking drum, 55% of those being speakers of Yorùbá. During the experiment, participants listened to 30 dùndún samples of about 7s long, performed either as music or Yorùbá speech surrogate (n= 15 each) by a professional musician, and were asked to classify each sample as music or speech-like. The classification task revealed the ability of the listeners to identify the samples as intended by the performer, particularly when they were familiar with the dùndún, though even unfamiliar participants performed above chance. A logistic regression predicting participants’ classification of the samples from several acoustic features confirmed the perceptual relevance of intensity, pitch, timbre, and timing measures and their interaction with listener familiarity. In all, this study provides empirical evidence supporting the discriminating role of acoustic features and the modulatory role of familiarity in teasing apart speech and music. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Policy and the Political Life of Music Education ed. by Patrick Schmidt and Richard ColwellHung-Pai ChenPatrick Schmidt and Richard Colwell, eds., Policy and the Political Life of Music Education (Oxford: Oxford University Press, 2017)Policy and the Political Life of Music Education is a collection of discourses regarding music education policy and its practice across a wide range of perspectives and geographical background. The book, edited by Patrick Schmidt (...) and Richard Colwell, not only provides the general readership with a well-rounded basis for comprehending music education policy in various regions, but it also offers music education stakeholders’ perspectives regarding the meaning, value, and the importance of participating in policy development and its implementation.This book discusses various policy-related issues among music education systems in terms of education levels from kindergarten to higher education and institutional music education systems. It explores both general music learning and professional musician training. Further, the scope of its observations cover issues outside of the campus; for instance, the work of musicians/teachers at the community level (Chapter 11) and the hardships associated with performing organizations such as orchestras (Chapter 13). Besides, the editors survey policy implementation at national, state, local, and organizational levels in different countries and circumstances in the Anglo-American educational world as well [End Page 217] as other contexts including Brazil (Chapter 7), Taiwan (Chapter 8), and Norway (Chapter 12).The crucial issues raised in the book are also within the focus of global education; for example, multicultural education, assessment of policy/curriculum, social inclusion, and equality of access to music education. These all accord with the notion of current trends in education and provide directions for future development. Such comprehensive discussions indeed offer readers extensive information through the three sections of policy foundation, international perspectives on policy, and policy in context.The prerequisite of the overall practice of policy is to translate an education philosophy into comprehensive terms while convincing the public.1 However, many consider that policy development is the business of government, authorities, and politicians; some music educators even believe that the discourse of policy and political issues concerning music education is far beyond their control. My ongoing study also shows that a number of music educators, including school teachers, studio instructors, and student teachers, lack the understanding of and are ignorant in the interpretation of policy.2 Policy documents such as statutes, blueprints, and even curriculum guidelines/standards are often strictly followed as compelling legislation or mandates, despite the fact that public hearings, dialogues, and on-line forums are available for all stakeholders to contribute their thoughts and experiences in their on-going development and interpretation. In this book, the authors provide a clear range of views to explain the complexity of policy development and its future implementation, embracing factors such as social context, economic condition, political evolution, assessment, and research, as well as diverse populations including academics, principals, school teachers, parents, and students. Throughout the collection, cases are raised for stressing the significance of participating in policy development and implementation and, as such, nobody is a bystander.Further, this book advocates that the awareness and understanding of policy issues should be included in teacher preparation programs for better participation in and implementation of policy by teachers, while policy related masters and doctoral studies should be encouraged. This suggests that policy relevant courses in university curriculum, either at the undergraduate or post-graduate level, should be evaluated in view of cultivating students’ political literacy and, consequently, enabling them to participate more fully in their future career. This view links to Katherine Zeserson and Graham Welch’s argument (Chapter 14) that research, policy, and practice are the spinning triangle which could make music more inspiring for the next generation. Policy should not be alienated from music and its teaching; it has the ability to improve and change both. [End Page 218]David Elliott claims that all musicians, including students, are part of the artistic citizenship and therefore should develop a social-political identity and a commitment toward social change.3 Paul Woodford further expresses that children should be prepared to develop their voice for shaping the society.4 Margaret Barrett (Chapter 10... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 485-494 [Access article in PDF] Art of the Piano Denis Dutton CHARLES ROSEN is so familiar to readers as an acute music theorist and historian of European ideas and literature that it is easy to forget that he is one of most stimulating and compelling pianists of the last fifty years. In Piano Notes: The World of the Pianist (Free Press, $25.00), he combines (...) his intellectual and musical gifts to take stock of his profession as concert pianist. The result is engaging, insightful, and for lovers of piano artistry, not a little disturbing.The piano, in case no one has noticed, is in steep, serious decline. My piano tuner, Adam Linning, began his career in Glasgow. He worked for the largest piano retailer in the city: it had seventeen tuners on the road in 1954, the year Glaswegians first got television. By 1959, when he left for New Zealand, there were three other tuners working with him. Adam explains the decline in terms of Glasgow apartment space. The piano and the TV had to share the living room, and so long as the room flickered with gray-blue light, the piano had to remain silent.People used to gather around and sing together at the piano—in my childhood experience, any group of a dozen middle-class adults would contain at least one competent sight-reader who could play, if not Beethoven, then Christmas carols, reductions of Your Hit Parade songs, or scraps of boogie-woogie. This meant that there was abroad in the land a critical mass of amateur pianists who knew enough about music literature, notation, and performance to constitute a core audience for the piano masters of the day—Horowitz, Rubinstein, Arrau, Cherkassky, and the like—and who also had an appreciation of jazz greats such as Art Tatum.The decline in the number of amateur pianists, people with knowledgeable admiration of piano playing, has tracked the decline of the [End Page 485] piano virtuoso as classical star. Recording too has played a role in these changes. I doubt that there was a greater love of classical music fifty years ago than now. But attendance at live performances of anything is no longer required in order to attain familiarity with repertoire. Recording, particularly from the LP era on, enormously enlarged general knowledge of the musical literature: people who a hundred years earlier would have been lucky to hear three Haydn symphonies or two Handel operas in a lifetime can now, no matter where they live, listen to them all. Recording did to music something like what the Roman alphabet and moveable type did for news and literature: it enabled the universal dispersal of all of music's products, the worst to the best. For years professional musicians tended not to appreciate this. While it is true that there are fewer people about who can actually play Scarlatti sonatas, that has to be balanced against the agreeable fact that knowledge of these small masterpieces is no longer limited to the fifty or sixty included in early editions, from which was derived the same two dozen that we would hear from pianists over and over. Now we can hear all 550+, and learn about them for ourselves (Arts & Letters Daily even links to a website where you can find any Scarlatti sonata in seconds, click on it, and listen.)This is a big change. Keyboard virtuosity goes back a long time, even before Bach, although it was Liszt, as inspired by Paganini, who gave the piano its first real idol. Enter Edison a few decades later, and with his appearance it became possible for people to joke, "The only instrument I play is the phonograph." If there are fewer pianists able to make a living performing the classical repertoire today, it is because a world of mostly non-pianists that is oversupplied with CDs just doesn't need them all, either to hear the playing or enjoy the music.A notable aspect of Charles Rosen's regard for piano playing is that he conveys no dewy-eyed nostalgia about... (shrink)

Music can act as a mnemonic device that can elicit multiple memories. How musical and non-musical information integrate into complex cross-modal memory representations has however rarely been investigated. Here, we studied the ability of human subjects to associate visual objects with melodies. Musical laypersons and professional musicians performed an associative inference task that tested the ability to form and memorize paired associations between objects and melodies and to integrate these pairs into more complex representations where melodies are linked with (...) two objects across trials. We further investigated whether and how musical expertise modulates these two processes. We analyzed accuracy and reaction times of direct and indirect trials in both groups. We reasoned that the musical and cross-modal memory demands of musicianship might modulate performance in the task and might thus reveal mechanisms that underlie the association and integration of visual information with musical information. Although musicians showed a higher overall memory accuracy, non-musicians’ accuracy was well above chance level in both trial types, thus indicating a significant ability to associate and integrate musical with visual information even in musically untrained subjects. However, non-musicians showed shorter RTs in indirect compared to direct trials, whereas the reverse pattern was found in musicians. Moreover, accuracy of direct and indirect trials correlated significantly in musicians but not in non-musicians. Consistent with previous accounts of visual associative memory, we interpret these findings as suggestive of at least two complimentary mechanisms that contribute to visual-melodic memory integration. A default mechanism that mainly operates at encoding of complex visual-melodic associations and that works with surprising efficacy even in musically untrained subjects. A retrieval-based mechanism that critically depends on an expert ability to maintain and discriminate visual-melodic associations across extended memory delays. Future studies may investigate how these mechanisms contribute to the everyday experience of music-evoked memories. (shrink)

This chapter considers the role of music and dance in the definition of identity by families and individuals in Renaissance Venice, with particular reference to the use of domestic space for music-making. The integration of music into its social and architectural context is discussed in terms of the class identity of different groups. The contexts range from domestic entertainment to family festivities such as marriages. The chapter goes on to explore the kinds of music-making in different spaces in the Venetian (...) dwelling, in terms of the size and loudness of the instrument; the type of music performed; and the size, function and decoration of the room. During the sixteenth century, increasingly specialised rooms were created for music-making, often linked to theatrical performance and/or dance. In parallel, the employment of professional musicians by elite families began to supersede amateur participation on important festive occasions. (shrink)

Singing is universal, and understanding sung words is thought to be important for many listeners’ enjoyment of vocal and choral music. However, this is not a trivial task, and sung text intelligibility is probably affected by many factors. A survey of musicians was undertaken to identify the factors believed to have most impact on intelligibility, and to assess the importance of understanding sung words in familiar and unfamiliar languages. A total of 143 professional and amateur musicians, including singers, singing (...) teachers, and regular listeners to vocal music, provided 394 statements yielding 851 references to one or more of 43 discrete factors in four categories: performer-related, listener-related, environment-related and words/music-related. The factors mentioned most frequently in each of the four categories were, respectively: diction; hearing ability; acoustic; and genre. In more than a third of references, the extent to which sung text is intelligible was attributed to the performer. Over 60% of respondents rated the ability to understand words in familiar languages as “very important,” but only 17% when the text was in an unfamiliar language. Professional musicians (47% of the sample) rated the importance of understanding in both familiar and unfamiliar languages significantly higher than amateurs but listed fewer factors overall and fewer listener-related factors. The more important the respondents rated understanding, the more performer-related and environment-related factors they tended to list. There were no significant differences between the responses of those who teach singing and those who do not. Enhancing sung text intelligibility is thus perceived to be within the singer’s control, at least to some extent, but there are also many factors outside their control. Empirical research is needed to explore some of these factors in greater depth, and has the potential to inform pedagogy for singers, composers, and choral directors. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:“Save The Music”?Toward Culturally Relevant, Joyful, and Sustainable School MusicJulia Eklund KozaIf historical sources are reliable indicators, music educators have never felt confident that music's place in the U.S. public school curriculum is secure. Proponents have been developing exhaustive rationales for the existence of school music from the moment that the subject was introduced into the public schools, attempting to convince an apparently skeptical public of the merits of (...) school music, and trying to pull endangered programs—usually their own—out of the fire. Today, as has been the case in the past, rescue and salvation discourses and initiatives abound. Moving music to a more secure place in the curriculum was cited as a rationale for the development of national music standards in 1994.1 In recent years saving the music has become a favorite project of major corporations, especially as privatization of public schooling has gained momentum. For example, in 1998 one of the National Association for Music Education's (MENC) corporate partners credited the school/partnership that promoted the Disney movie, Mr. Holland's Opus, with saving school music.2 The corporate-sponsored initiative "VH1 Save the Music" claims not only to help flailing school music programs but also, through the donation of musical instruments to schools, to rescue children as well—more than 250,0000 of them since 1997.3 [End Page 23]Because music outside of school seems to be thriving and probably will never be in need of rescue—although specific styles, genres, and practices may be in their twilight—"the music" to which "VH1 Save the Music" refers presumably is school music. As a music educator who perennially is called upon to "save the music," I will take a brief look at the object of salvation, the salvific discourses that surround it, and some of the systems of reasoning that construct it. I propose modifications in these systems of reasoning, which may lead to more culturally relevant, joyful, and sustainable school music.School Music: An Alchemized Constellation of Systems of Reasoning and PracticesTo conceptualize school music as an entity is both problematic and useful. On the one hand, doing so assumes the existence of an exteriority from which it can be clearly differentiated, that is, outside-of-school music, and yet these culturally constructed categories are leaky. The fact that the American Federation of Musicians joined forces with MENC to establish guidelines, which attempt to prevent school performing groups from encroaching on the turf of unionized professional musicians, indicates that the line of distinction between school music and its exteriority sometimes has been blurred.4Furthermore, when VH1 refers to it as "the music," school music seems to be not only clearly defined but also static and monolithic. I argue, however, that it consists of a whole constellation of systems of reasoning as well as the varied practices resulting from these systems. Differences between the various elements in this constellation may be as numerous as commonalities. School music in the U.S. is diverse in the sense that it encompasses a variety of sub-categories or sub-cultures (for example, elementary general music, secondary instrumental music, and so on), each with somewhat distinct systems of reasoning and practices. When suggesting that school music should be saved, we are faced with the complex question of whether all of these sub-categories, their systems of reasoning, and their consequent practices are to be objects of salvation.In addition to having to address the variety within school music, any mapping of relationships between school music and it exteriority should take into account the variety and dynamism of the musical world outside of school. This exteriority consists of a multiplicity of sub-cultures, each with a set of governing practices that may or may not be shared.On the other hand, astonishing within-category similarity exists, which supports the view that school music is an entity. In addition, some commonalities may not only unite all of the sub-categories but also may be shared with non-music school subjects, as well. One such commonality is the inescapable influence of a process of change educational theorist Thomas Popkewitz calls [End Page 24] "alchemy... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Music Education in an Age of Virtuality and Post-Truth by Paul WoodfordPanagiotis A. KanellopoulosPaul Woodford, Music Education in an Age of Virtuality and Post-Truth (New York, Routledge, 2018)This book is provocative. And challenging. It is written with passion, aiming to induce controversy. And with good reason. For we live in times when populism professes an illusionary sense of community, invoking a seemingly 'anti-systemic' but highly hypocritical, racist, and (...) sexist discourse;1 in times where "bullshitting"2 has advanced to the highest governmental levels in many countries; in times where "authoritarian neoliberal statism"3 becomes the new status quo, inducing a scandalous increase of economic inequalities, forcing large populations to live precarious lives; in times where privatization of educational services in the context of market-oriented practices impose restrictive and ultimately unjust politics of accountability and performativity;4 in times where instrumentalization of educational ends has taken the lead, assisted by a systematic co-option and misappropriation of notions such as excellence and creativity;5 in times, finally, where spaces that allow for "the sharing (out) of the incalculable,"6 forging unknown potentialities in education, life, and thought, are being destroyed. In such times, Paul Woodford has stepped in, reclaiming his right to speak uncompromisingly.Hannah Arendt has written that "[w]hen men [sic] are deprived of the public space--which is constituted by acting together and then fills of its own accord [End Page 108] with the events and stories that develop into history--they retreat into their freedom of thought."7 Woodford refuses to retreat. He writes as a public intellectual of the highest order, committed to upset and not please those in power. A great service that his latest book performs is that it speaks daringly, stirring a debate that helps us all to do away with fear. For as Bertrand Russell has aptly said quite a long time ago, "[I]f thought is to become the possession of many, not the privilege of the few, we must have done with fear. It is fear that holds men [sic] back."8Resisting the "melancholy of inner exile,"9 but not immune to possible accusations of left melancholy, understood as "a refusal to come to terms with the particular character of the present,"10 the author wrote a book that provokes music educators to actively think beyond their sealed and safe world of convictions that is based on ideology-free conceptions of music teaching. Estelle Jorgensen has long ago brought to our attention the urgency of this task: "in an era in which the mindset and political reality have changed dramatically, … there is an urgent need to revisit the political character of music education and the ways in which it needs to address the cultural issues of our day."11Along this pathway, Woodford's book encourages music educators to live and teach as public intellectuals, forging "a democratic purpose for music education"12 that acts against the "anachronistic and formalist conception of music that reduces music education to supply-side economics as children are conceived as either future professional musicians or consumers and not as citizens to be prepared in schools to participate intelligently in the political life of society."13 Woodford articulates a vision of music education "as preparation for adulthood and democratic and global citizenship."14 He strongly advocates an approach that balances performance and creativity-based experiences with a socio-historical study of the social, ideological, and cultural workings of different musics in a wide variety of contexts. He encourages music educators to teach "how music's structural properties and qualities contribute to the shaping of people's perceptions and understandings of themselves and their world,"15 "asking the who, what, when, where, how, to, with, or for whom, and, most importantly of all, why of music."16 He envisions a music classroom that exercises social criticism "directly and self-consciously"17 both through "learning how to make music"18 and through thinking about music. He sees this approach as a tool for raising students' consciousness. Woodford's ultimate vision of music education is one that casts it as a means for cultivating "a justice-oriented" approach... (shrink)

Charles Avison's Essay on Musical Expression, first published in 1752, is a major contribution to the debate on musical aesthetics which developed in the course of the 18th century. Considered by Charles Burney as the first essay devoted to 'musical criticism' proper, it established the primary importance of 'expression' and reconsidered the relative importance of harmony and melody. Immediately after its publication it was followed by William Hayes's Remarks (1753), to which Avison himself retorted in his Reply. Taken together these (...) three texts offer a fascinating insight into the debate that raged in the 18th century between the promoters of the so-called 'ancient music' (such as Hayes) and the more 'modern' musicians. Beyond matters of taste, what was at stake in Avison's theoretical contribution was the assertion that the individual's response to music ultimately mattered more than the dry rules established by professional musicians. Avison also wrote several prefaces to the published editions of his own musical compositions. This volume reprints these prefaces and advertisements together with his Essay to provide an interesting view of eighteenth-century conceptions of composition and performance, and a complete survey of Avison's theory of music. (shrink)

The maqam, closely connected at first with the cult-ritual practice, absorbed and reflected philosophical and ethical ideas. These ideas, fixed in the system of maqams, despite their clear canonization, changed; they underwent a certain historical transformation due to changes in the social structure of society itself. However, the main aesthetic function of the maqam, the nature of its emotional and psychological impact on a person, a deep connection with the world around him, remained in the view of Eastern thinkers and (...) musicians unshakable until the XX century. Today, macs should be understood on the one hand as a paradigmatic structure, on the other hand, as a compositional form. The subtlest gradation of human feelings, emotional and psychological states also determined a carefully developed (theoretically) mode, intonation, pitch system of images, symbols, signs, their connection with specific manifestations of spiritual experiences and emotional states. Certain universal principles of musical dramaturgy are observed in the makam, based on diverse contrast: fret, timbre-register, dynamic, vocal-instrumental, rhythmic. These internal contrasts are infinitely diverse, but they are outlined so subtly, barely perceptible. Instrumental and vocal-instrumental music in Islamic culture was mainly an environment of professional musicians who mastered the art of maqam thinking. Makam represented the unity of the theory of performing practice for musicians. (shrink)

Music in dreams is rarely reported in scientific literature, while the presence of musical themes in dreams of famous musicians is anecdotally reported. We did a systematic investigation to evaluate whether the occurrence of musical dreams could be related to musical competence and practice, and to explore specific features of dreamt pieces. Thirty-five professional musicians and thirty non-musicians filled out a questionnaire about the characteristics of their musical activity and a structured dream log on the awakening for 30 consecutive (...) days. Musicians dream of music more than twice with respect to non-musicians; musical dreams frequency is related to the age of commencement of musical instruction, but not to the daily load of musical activity. Nearly half of the recalled music was non-standard, suggesting that original music can be created in dreams. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Review Wayne C. Booth. For the Love ofIt: Amateuring and Its Rivals (Chicago: University of Chicago Press, 1999). For the Love ofIt is a delightful exposition on life-long music making written with love by amateur cellist Wayne Booth (professor emeritus ofEnglish, University ofChicago). Employing a combination of journal entries, memories, and romantic prose on the topic oftaking up the cello at age thirty-one, he writes insightfully on the (...) challenges and triumphs inherent in amateur pursuits (musical, or otherwise). Written from a classical music perspective, he analyzes the reasons for amateuring, all the while extolling his community offellow amateurs, pro-amateurs, and teachers who make the journey worthwhile. He imparts many valuable insights from which music educators can benefit. I will summarize Booth's main points, highlighting these insights, and conclude with a brief criticism of the book from theperspective ofone who has worked with adult amateurs for more than fifteen jears. Boothplayfullypresentshis text in the form ofa symphony. In the "Overture," he encourages people to pursue actively an amateur love and desires growth in the ranks of amateurs. Just as Christopher Small encouraged a mental shift from to musictothemoreactive gerund formmusicking in his book of that title,1 Booth promotes a shift from the noun amateurto the gerund amateuring. He defines amateuringas doing something for the sheer love of it, adding the caveat: "Amateurs don't just dabble, like serious professionals, they work at learningto do it better^11). This idea of constant improvement is reiteratedthroughout the book with detailedrecounting ofBooth's forty-six years of cello studies, especially his pursuit of excellent thumb position. Why one should study to this degree when full success (that is, professional performance) is out of reach? Booth suggests the following rewards: joyful friendship, spiritual ecstasy, and gratitude for life's mysterious unearned gifts (5, 6). Indeed, throughout the book Booth finds himself "getting better all the time," often "playing better than ever"(58, 112, 123, 137, 140). His feelings ofimprovement and the accompanying self-satisfaction are ajoy to see and reinforce the idea that theserewards make true amateuring worth it. In"First Movement: The Courtship,"music educators find a staunch supporter in Booth and gain insight into the importance of childhood music activities as seen through amateureyes. As Booth wiselystates,"No one inmidlifeis likelyto take up any instrument, let alone the cello, without having fallenin lovewithmusic longbefore"(21). Clearlyfrom a musical family, he describes beautiful childhood memories including dancing with his mother at age five; making up songs; taking piano and clarinet lessons; singing three-part solfège exercises in sixth grade; and hearing his first live orchestra concert, the Philadelphia Orchestra conducted by Leopold Stokowski (22-8). These types ofactivities lay an important foundation for the pursuit of music by adults as "amateuring in our early years can lead to a lifetime ofamateuring" (22). Booth is a champion ofmusic education in the schools. Concerned with music program cuts and the prevalence of personal stereos that keep young people from "getting music into their bones, not just their ears," he encourages the funding of music lessons rather than computer games (22). After describing how he was "seducedbythe cello," he concludesthis section with a discussion of how other pleasures rival for the amateur's attention, suggesting that leisure activities often take the form of passive pastimes, not the active work oftrue amateuring. LikeVemon HowardmLearningByAllMeans, Boothgrapples with the concept of work versus play. 2 If amateurs are to spend their leisure hours working diligently at getting better, the work must be©Philosophy ofMusic Education ReviewlO, no. 2 (Fall 2002): 140-143. Book Review 141 experienced as play-something they love to do. While professional musicians are paid to play, often playing for the love ofit fades as themoney blossoms. He maintains the distinction between amateurs and professionals lies not with being paid or unpaid, but with playing for love or solely for money. "My heroes... are the professionals Icallpro-amateurs-thosewillingtojoinamateurs, pursuingthe love together," statesBooth (59, 60). I believe music educators are foremost among these heroes. In "Second Movement: The Marriage," many insights into the teachingofaging amateurs are provided. First, he observes that while his level of cello playing rises with age... (shrink)

High-level improvising musicians master idiosyncratic gesture vocabularies that allow them to express themselves in unique ways. The full use of such vocabularies is nevertheless challenged when improvisers incorporate electronics in their performances. To control electronic sounds and effects, they typically use commercial interfaces whose physicality is likely to limit their freedom of movement. Based on Jim Black's descriptions of his ideal digital musical instrument, embodied improvisation gestures, and stage performance constraints, we develop the concept of a modular wearable MIDI interface (...) to closely meet the needs of professional improvisers, rather than proposing a new generic instrument that would require substantial practice to adapt improvisational techniques already acquired. Our research draws upon different bodies of knowledge, from theoretical principles on collaboration and embodiment to wearable interface design, in order to create a digital vest called Track It, Zip It that features two innovative on-body sensors. Allowing for sound control, these sensors are seamlessly integrated with Black's improvisational gesture vocabulary. We then detail the design process of three TIZI prototypes structured by the outcomes of a performance test with Black, a public performance by a novice improviser during the 2017 International Guthman Musical Instrument Competition, and measurements of sensor responses. After commenting on the strengths and weaknesses of the final TIZI prototype, we discuss how our interdisciplinary and collective process involving a world-class improviser at the very center of the design process can provide recommendations to designers who wish to create interfaces better adapted to high-level performers. Finally, we present our goals for the future creation of a wireless version of the vest for a female body based on Diana Policarpo's artistic vision. (shrink)

Recent research into how musicians coordinate their expressive timing, phrasing, articulation, dynamics, and other stylistic characteristics during performances has highlighted the role of predictive processes, as musicians must anticipate how their partners will play in order to be together. Several studies have used information flow techniques such as Granger causality to show that upcoming movements of a musician can be predicted from immediate past movements of fellow musicians. Although musicians must move to play their instruments, a major goal of (...) music making is to create a joint interpretation through the sounds they produce. Yet, information flow techniques have not been applied previously to examine the role that fellow musicians' sound output plays in these predictive processes and whether this changes as they learn to play together. In the present experiment, we asked professional violinists to play along with recordings of two folk pieces, each eight times in succession, and compared the amplitude envelopes of their performances with those of the recordings using Granger causality to measure information flow and cross-correlation to measure similarity and synchronization. In line with our hypotheses, our measure of information flow was higher from the recordings to the performances than vice versa, and decreased as the violinists became more familiar with the recordings over trials. This decline in information flow is consistent with a gradual shift from relying on auditory cues to predict the recording to relying on an internally-based (learned) model built through repetition. There was also evidence that violinists became more synchronized with the recordings over trials. These results shed light on the planning and learning processes involved in the aligning of expressive intentions in group music performance and lay the groundwork for the application of Granger causality to investigate information flow through sound in more complex musical interactions. (shrink)

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects (...) are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

Positive Psychology has turned its attention to the study of emotions in a scientific and rigorous way. Particularly, to how emotions influence people’s health, performance, or their overall life satisfaction. Within this trend, Flow theory has established a theoretical framework that helps to promote the Flow experience. Flow state, or optimal experience, is a mental state of high concentration and enjoyment that, due to its characteristics, has been considered desirable for the development of the performing activity of performing musicians. Musicians (...) are a population prone to health problems, both psychological and physical, owing to different stressors of their training and professional activity. One of the most common problems is Musical Performance Anxiety. In this investigation, an electronic intervention program was carried out for the development of psychological self-regulation skills whose main objective was to trigger the Flow response in performing musicians and the coping mechanism for Musical Performance Anxiety. A quasi-experimental design was used with a control group in which pre- and post-measures of Flow State, Musical Performance Anxiety and, also, Social Skills were taken. Sixty-two performing musicians from different music colleges in Spain participated in the program. Results indicated that the intervention significantly improved Flow State, and Sense of Control, and decreased Music Performance Anxiety, and self-consciousness of the participants in the EG but not CG. The changes in the EG after the program showed the inverse relationship between Flow and Anxiety. Two important theoretical factors of both variables, such as worry and the feeling of lack of control, could be involved. The results are under discussion and future lines of research are proposed. (shrink)

From Stage to Studio: Performances versus Recordings in Classical Music presents a cultural study of classical music-making through the analysis of live and studio performances of orchestral and operatic repertoire conducted by Sir Charles Mackerras. The close listening analysis is based on detailed research into Mackerras's private collection of over 600 reel-to-reel and cassette tapes containing recordings of over 1,000 live performances which he conducted between the 1950s and the late 1990s. This is contextualized with evidence collected during ethnographic fieldwork (...) observations, presenting the opinions of Sir Charles, orchestral musicians from major London orchestras and opera houses with whom he was working (Philharmonia, Orchestra of the Age of Enlightenment, Royal Opera House, English National Opera), and production team members working for recording industry leaders (such as Decca, EMI, and Chandos). This ethnography of classical music-making gives a voice to performers and music professionals, brings to light some important and heretofore hidden issues and explores a fascinating time of intense change in the recording industry. Including consideration of ways forward for performance, education, and recording, this book will be relevant to specialist practitioners, as well as music enthusiasts interested in concert life and recording studio habits, professional performers, recordists, music students, educators, and scholars interested in classical music. (shrink)

Music performance anxiety (MPA) is a multifaceted phenomenon occurring on a continuum of severity. In this survey study, we investigated to what extent the affective (anxiety), cognitive (catastrophizing), and somatic (bodily complaints) components of MPA prior to solo performances vary as a function of age, gender, instrument group, musical experience, and practice as well as how these MPA components relate to self-rated change in performance quality from practice to public performance. The sample comprised 75 male and 111 female classical music (...) university students, aged 15–45 years. Age was positively associated with anxious feelings and bodily complaints. Compared to male students, female students reported significantly more anxious feelings and catastrophizing. Singers reported less anxious feelings and catastrophizing than instrumentalists. Breathing-, mouth- and throat-related complaints were highest among singers and wind players; hand- and arm-related complaints were highest among string players and pianists. The indices of musical experience and practice had marginal effects. An average of four bodily complaints bothered the participants strongly to very strongly. Worsening in performance quality from practice to public performance was reported by almost half of the participants and was best predicted by anxious feelings and breathing-related complaints. We conclude that age, gender and instrument play a significant role in understanding the phenomenology of MPA. Musicians should be examined according to these characteristics rather than as one homogenous population. In particular, it might be valuable to develop assessment tools for MPA that incorporate items related to the bodily complaints that are most relevant to the different instrument groups. Breathing-related complaints could add an important dimension to the investigation of MPA and music performance. Finally, the high percentage of students reporting worsening of their performance quality from practice to public performance highlights the need of professional support to help music students be able to perform at their best and thrive as artists. (shrink)

In contemporary virtue ethics, virtues are often assimilated to skills. This assimilation suggests that the moral knowledge of virtuous individuals parallels the practical knowledge of experts in a particular skill. According to Julia Annas (2011a, 2011b), virtues function as skills requiring the ability to articulate reasons for one’s actions. These skills are developed through habitual practice over time. For example, a pianist who internalizes piano techniques possesses practical expertise akin to someone who understands their actions, even when performed automatically. Annas (...) argues that to cultivate ethical virtue, we should emulate musical action, viewing it as a habit rather than mere repetition. This analogy aids in understanding virtue acquisition as practical skill-building. Expanding on Annas’s insights, this article contends that musical practice offers profound ethical implications for musicians as potential moral agents. Supported by important neurological and psychological studies on musical expertise, as well as the dynamics of classical music interpretation and professional career development, this argument sheds light on the ethical dimensions of musical agency. These insights into musical expertise could enhance our understanding of ethical expertise overall. (shrink)

In many countries, life expectancy has increased considerably in past years, and the importance of finding ways to ensure good levels of wellbeing through aging has become more important than ever. Arts based interventions are promising in this respect, and the literature suggests that musical activities can reduce isolation and anxiety and foster feelings of achievement and self-confidence. The present study examined the effects of group music making programs on the health and wellbeing of nursing home residents in Southern Switzerland. (...) A team of professional and student musicians delivered 10 weekly music sessions in four nursing homes, focusing on singing, rhythm-based activities with percussion instruments, and listening to short, live performances. 22 participants (16 women and 6 men, aged 72-95 years, mean 83.6, SD ± 6.9) were recruited to take part in the study and were interviewed after the last music session. The data were analyzed with thematic analysis to investigate how residents experienced group music making and its effects. The findings show that the music programs were beneficial for residents’ wellbeing. Music plays an important role in their lives, both in their pasts and presently, and being involved in musical activities offers engagement and novelty in daily life, providing learning opportunities and facilitating interpersonal relationships. Moreover, these results were due to interactions with the musicians involved. Residents particularly appreciated the opportunity to listen to live performances as part of the sessions. This study suggests that nursing home residents value music and that music based interventions play an important and direct role in enhancing their wellbeing. (shrink)

It has been observed that whereas painters and musicians are likely to be embarrassed by references to the beauty in their work, mathematicians instead like to engage in discussions of the beauty of mathematics. Professional artists are more likely to stress the technical rather than the aesthetic aspects of their work. Mathematicians, instead, are fond of passing judgment on the beauty of their favored pieces of mathematics. Even a cursory observation shows that the characteristics of mathematical beauty are at (...) variance with those of artistic beauty. For example, courses in art appreciation are fairly common; it is however unthinkable to find any mathematical beauty appreciation courses taught anywhere. The purpose of the present paper is to try to uncover the sense of the term beauty as it is currently used by mathematicians. (shrink)

Music performance anxiety is a commonly present topic among musicians. Most studies on MPA investigated effects of a more general occurrence of MPA on performances. Less is known about individual variations of MPA within a performance, more specifically at the times before, during, and after the performance. This study used a questionnaire to investigate these performance times in order to find out if there occur different types in the variation of the perceived MPA across the performance. The study was performed (...) with 532 musicians; 27% of them being professional orchestra musicians, 45% non-professional orchestra musicians, and 28% non-professional choir singers. The musicians were asked to fill in the Performance-specific Questionnaire for Musicians immediately after a performance. The questionnaire contains three scales regarding symptoms of MPA, functional coping with MPA and performance-related self-efficacy. A cluster analysis was performed on the PQM scales to identify systematic variations. Findings indicate that there are three different types of MPA in the sample studied. Type 1 describes musicians who have few symptoms of MPA throughout the performance, show functional coping with MPA, and have a stable and well-developed self-efficacy. Type 2 describes musicians who begin their performance with rather high symptoms of MPA but can positively reduce these by the end of the performance and show high values in self-efficacy and in functional coping. Type 3 contains musicians who begin their performance with some symptoms of MPA, which increase to the end of the performance. The values of self-efficacy and functional coping in this type are rather low. Of the total sample, half of the musicians were assigned to Type 1 and approximately a quarter each to Type 2 and Type 3. In accordance with the literature, the results confirm the importance of self-efficacy and functional coping for a positive performance experience. (shrink)

The authors of the article consider the main directions of the development of choral culture of the twentieth century in the context of domestic and regional socio-cultural processes through the prism of the legacy of the multifaceted creative personality of A. S. Anokhin, as well as through the analysis of the biography and creative path of the composer, based on his diaries and memoirs; presenting his views on the historical events of that time from the point of view of the (...) musician and a teacher. The figure of Afanasy Stepanovich Anokhin is one of the key figures in the musical education and enlightenment of the Altai Territory in the XX century, about his creative and educational activities. The novelty of the research lies in the reconstruction of the integral creative image of the composer in the context of the formation of musical culture in the Soviet period in the Altai Territory. In this work, for the first time, a complete list of the composer's published works is published. A. S. Anokhin's main compositional legacy is connected with mass songwriting, one of the most popular genres of the Soviet era. The article also examines the development of musical and choral culture in the Altai Territory from amateur groups to professional performance and the development of musical education throughout the twentieth century, as well as raises issues of preservation and reclamation of regional cultural heritage. (shrink)

This chapter will explore the ways that live improvisational performances by professional-level actors, musicians, and dancers, take place at both cognitive and sub-cognitive levels in ways that are relevant for understanding perception and appreciation of the performing arts. First, evidence from cognitive science will be used to show that improvising, as in a dance or a music jam session or a scene in theatre, may involve physical responses that occur before we are conscious of the event to which we (...) are responding. Second, this chapter will demonstrate how understanding these cognitive processes can help us to pinpoint why live improvisational performances have aesthetic value. Next, this chapter will consider the extent to which critical appreciation involves the enrichment and supplementation of perceptual experience with interpretive practice. Like the improvising performing artist, the audience member, too, has cognitive processes that occur before conscious articulation of what they have perceived. This means that evaluative judgments of live improvisation in the arts, like the improvisatory decisions that are made by the performers in the performances that they are judging, are not made at the purely perceptual level. (shrink)

My relationship to the guitar can be characterized by the Friday evening distortion of Kirk Hammett (of Metallica) and Dan Auerbach (of The Black Keys) and Sunday morning’s soaring chords of classical musicians Julian Bream and Rafael Andia to anything in between the rest of the week. I have, however, kept my writing and my music away from my professional practice. I am one of those for whom music and poetry offer a refuge, a source of compensation for the (...) emotions built up during clinical work. I need to look outside of my practice for the beauty of the world, in all its harsh reality and breadth, reveling in the splendor to bring me peace. Reading Bryan Sisk’s (2011) reflection on bringing his guitar, his songs, and his free time to the Cleveland Clinic Children’s Hospital challenged me to immerse myself in a different musical and literary universe. A Lasting Effect: Reflections on Music and Medicine is a collection of reflective pieces written when Sisk was a medical student. He des .. (shrink)