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Fit to Perform: A Profile of Higher Education Music Students’ Physical Fitness
Get PDFThe physical demands of music making are well acknowledged, but understanding of musicians’ physical and fitness profiles is nonetheless limited, especially those of advanced music students who are training to enter music’s competitive professional landscape. To gain insight into how physical fitness is associated with music making, this study investigated music students’ fitness levels on several standardized indicators. Four hundred and eighty three students took part in a fitness screening protocol that included measurements of lung function, flexibility (hypermobility, shoulder range of motion, sit and reach), strength and endurance (hand grip, plank, press-up), and sub-maximal cardiovascular fitness (3-min step test), as well as self-reported physical activity (IPAQ-SF). Participants scored within age-appropriate ranges on lung function, shoulder range of motion, grip strength, and cardiovascular fitness. Their results for the plank, press-up, and sit and reach were poor by comparison. Reported difficulty (22%) and pain (17%) in internal rotation of the right shoulder were also found. Differences between instrument groups and levels of study were observed on some measures. In particular, brass players showed greater lung function and grip strength compared with other groups, and postgraduate students on the whole were able to maintain the plank for longer but also demonstrated higher hypermobility and lower lung function and cardiovascular fitness than undergraduate students. Seventy-nine percent of participants exceeded the minimum recommended weekly amount of physical activity, but this was mostly based on walking activities. Singers were the most physically active group, and keyboard players, composers, and conductors were the least active. IPAQ-SF scores correlated positively with lung function, sit and reach, press-up and cardiovascular fitness suggesting that, in the absence of time and resources to carry out comprehensive physical assessments, this one measure alone can provide useful insight into musicians’ fitness. The findings show moderate levels of general health-related fitness, and we discuss whether moderate fitness is enough for people undertaking physically and mentally demanding music making. We argue that musicians could benefit from strengthening their supportive musculature and enhancing their awareness of strength imbalances
Physical Activity, Sedentary Behavior, Anxiety, and Pain Among Musicians in the United Kingdom
Get PDFContext and Aims: Although some exercise-based interventions have been associated with lower levels of pain and performance-related musculoskeletal disorders (PRMDs) among musicians, the evidence is still mixed. Furthermore, little is known about musicians’ general engagement in physical activity (PA), their knowledge of PA guidelines, or the relevant training they receive on pain prevention and the sources of such training. Similarly, little is known about the relationship between PA and PRMDs and other risk factors for PRMDs.
Methods: Following a cross-sectional correlational study design, both standardized and ad hoc measurements were used to investigate self-reported PA [International Physical Activity Questionnaire – Short Form (IPAQ-SF)], knowledge of PA guidelines, and barriers to engaging in PA [Centers for Disease Control (CDC); Determinants of Physical Activity Questionnaire (DPAQ)]; sedentary behavior [Sedentary Behavior Questionnaire (SBQ)]; pain [36-Item Short Form Survey Instrument (SF-36)] and PRMDs (frequency and severity); reported physical exertion (RPE); anxiety [Hospital Anxiety and Depression Scale (HADS)]; practice behaviors (e.g., practice time; taking breaks frequency; warming up); and relevant training among conservatoire students in the United Kingdom. The entire set of questionnaires was administered both online and via hard copies between June 2017 and April 2018.
Results: Demographic information was obtained from 111 respondents, mostly undergraduate students (UGs) from seven conservatoires. They reported high levels of engagement in PA, despite poor knowledge of PA guidelines. Teachers were the most frequently mentioned source of pain prevention information (by 43% of respondents), and 62% agreed that they had received advice on why they should engage in cardio PA. Sedentary behavior was comparable to normative data. Levels of bodily pain and PRMDs were low, but 43% showed “abnormal” clinical anxiety and found playing their instruments “somewhat hard” (RPE) on average. Bodily pain interfering with practice and performance was positively correlated with frequency and severity of PRMDs, anxiety, and RPE. Frequency and severity of PRMDs were also associated with sedentary behavior at the weekend. Anxiety was associated with RPE. No association was found between PA and PRMDs.
Conclusion: The relationship between PA and PRMDs and pain remains unclear and needs further investigation. While health education needs to be improved, other pathways may need to be taken. Given the high levels of anxiety, the ideology of Western classical music itself may need to be challenged
Music Students’ Experienced Workload, Livelihoods and Stress in Higher Education in Finland and the United Kingdom
Get PDFNeoliberal education policies—viewing students’ life as human capital, economic
investment for the labour market and consumer power—may increase students’
workload in higher education. In this mixed methods study, we examined music
students’ experiences of workload in Finland and the United Kingdom in
connection with stress and livelihoods. We used Bayesian mixed effects ordinal
probit regression modeling to estimate effects of countries and livelihoods as
predictors for music students’ experienced workload in relation to their main
subject of study (or principal study) and stress. We analysed music students’
lived experiences of workload to find further predictors for the developmental
work in universities and educational policies. Results indicate that where
neoliberal university culture impacts on music students’ livelihoods alongside
their studies, this is likely to increase stress but not necessarily impact on the
workload associated with their main subject of study. However, stress has a
notable effect on students’ experiences of workload. In order to support music
students’ learning, well-being and future careers, we suggest paying attention to
certain aspects in universities in relation to workload, such as the gap between
well-off students compared to low-income students who need to work as well as
studying, and stress, particularly with female and non-binary gender students.
Furthermore, we propose alternative ways to navigate neoliberal university
culture.
Keywords: higher education; livelihoods; music student; stress; student
experience; student workloa
French Connections: Debussy and Ravel’s Orchestral Music in Britain from Prélude à l’après-midi d’un faune to Boléro
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Rethinking the Role of the Golden Section in Music and Music Scholarship
No full textThe golden section has become a well-known concept in the study and practice of music.
However, no study has examined why the golden section may have become so popular in both
music practice and analysis. The meta-analysis reported here reveals that the golden section has
been related to one or more pieces of music in 113 items of published scholarly literature. The
role of the golden section has changed over the last century; compositional intention has become
less of a consideration, and recently, scholars often presume familiarity with the golden section in
their readership, frequently giving a single mention of the concept, with no definition of this.
Reasons for the prominence of the golden section in music scholarship may include it being
a useful pedagogical tool. Another reason may be linked to aesthetic value; there are examples in
wider scholarly and non-scholarly literature of the link between the golden section and beauty in
music being assumed. Some studies also claim that the golden section may be perceived aurally.
However, this seems questionable given results of empirical work regarding the perception of
musical form. Research in the field of psychology has shown a new skepticism toward the golden
section as an artifice of preference and a naturally occurring proportion. Perhaps music scholarship
could benefit from similar reflection when considering the role of the golden section,
particularly when assuming any perceptual salience. Scholars from different fields (for example,
music and psychology) may benefit from an awareness of each other’s work, which may in turn
advance scholarship in both fields
Instrumental and vocal teachers in the United Kingdom: demographic characteristics, educational pathways, and beliefs about qualification requirements.
Get PDFInstrumental and vocal tuition is an important part of music education but relatively little is known about musicians who participate in this profession or their views on what makes someone ‘qualified’ to do so. An online survey was completed by 496 musicians teaching instrumental or vocal pupils in the UK. Findings focus on respondents’ educational pathways and beliefs about necessary qualifications with contextual information relating to their characteristics and activities. School music qualifications, theory and performance certificates, and bachelor’s degrees were common; in contrast, few had undertaken pedagogical qualifications or training. Respondents’ beliefs about qualifications focused on the need for those who teach instrumental and vocal lessons to have certain qualifications, skills, attributes or experience, and/or engagement in performance activities. Teachers’ perspectives on vital knowledge, skills, and attributes should be considered when developing music education and supporting those who work in this field. Findings will be of interest to teachers, teacher educators, researchers, providers of pedagogical resources, and policy-makers
Health education literacy and accessibility for musicians: a global approach. Report from the Worldwide Universities Network project.
No full textObjective: To address the need for accessible health education and improved health literacy for musicians throughout their life span.
Methods: Formation of a multicultural, international and interdisciplinary collaborative research team, funded by the Worldwide Universities Network (WUN). The goal is to design a multi-strand research program to develop flexible and accessible approaches to health education for musicians, thus improving their health literacy.
Results: Two team meetings in 2018 took place. The first was held from 11 to 15 April 2018 in Perth, Australia. It involved a review of existing literature and interventions on health education in music schools, and intensive development of research topics, aims, and methodologies as well as identification of potential funding sources to support future large-scale research programs. This resulted in the draft design of three research projects, finalised during a second meeting in Maastricht, the Netherlands, from 27 to 31 August 2018.
Discussion: These intensive meetings identified the need for both cultural change in music education settings as well as improved health literacy in musicians across global geographical regions.
Conclusion: A global project to address health literacy and health education accessibility for musicians has commenced
Hand Shape Familiarity Affects Guitarists’ Perception of Sonic Congruence
Get PDFMusical performance depends on the anticipation of the perceptual consequences of motor behavior. Altered auditory feedback (AAF) has previously been used to investigate auditory-motor coupling but studies to date have predominantly used MIDI piano in experimental tasks. In the present study, we extend the AAF paradigm to the guitar, which differs from the piano both motorically and in its pitch-to-place mapping, allowing further investigation into the nature of this coupling. Guitarists played chords on a MIDI guitar in response to tablature diagrams. In half of the trials, one of the notes in the heard chord was artificially altered. Participants judged whether the feedback was altered or not, responding as quickly and accurately as possible by pressing one of two buttons on a footswitch. Participants ranked the familiarity of the chord shapes and the hand shapes of the stimuli. Judgement of sonic congruence was faster when the chord and hand shape were familiar, and when feedback was congruent, though there was no interaction between these factors. Our findings suggest that guitarists’ auditory-motor coupling is heterogenous with respect to their technique, and that perception-action coupling operates at the abstract level of the gesture. We discuss implications of these findings with regard to forward models and embodimen