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Profiling the location and extent of musicians’ pain using digital pain drawings
No full textBackground and aims: According to the existing literature, musicians are at risk to experience a range of musculoskeletal painful conditions. Recently, digital technology has been developed to investigate pain location and pain extent. The aim of this study was to describe pain location and pain extent in musicians using a digital method for pain drawing analysis. Additionally, the association between pain drawing (PD) variables and clinical features in musicians with pain were explored. Materials and methods: One hundred fifty-eight musicians (90 women and 68 men; age 22.4±3.6 years) were recruited from Swiss and UK conservatoires. Participants were asked to complete a survey including both background musical information and clinical features, the Quick Dash (QD) questionnaire and the digital PDs. Results: Of the 158 participants, 126 musicians (79.7%) reported having pain, with higher prevalence in the areas of the neck and shoulders, the lower back and the right arm. The mean of pain extent was 3.1% ±6.5. The mean of QD was larger for musicians showing the presence of pain than for those without pain. Additionally, the results indicated a positive correlation between QD score and pain extent, and there were significant correlations between age and pain intensity, as well as between pain extent and pain intensity. Conclusions: The high prevalence of pain among musicians has been confirmed using a digital PD. In addition, positive correlations between pain extent and upper limb disability has been demonstrated. Our findings highlight the need for effective prevention and treatment strategies for musicians. *** For a video summary of this article please see http://researchonline.rcm.ac.uk/id/eprint/1807/ **
Modernism: the people’s music?
No full textLiterary historian Rachel Potter has argued for ‘two genealogies of modernism’: the first is marked by hostility to a mass public and everyday life; the other champions democracy and the popular voice. This chapter examines the second of these two genealogies, as it manifests itself in music. What happens when music that rejects fundamental aspects of culturally dominant musical styles does so in the name of ‘the people’? Drawing upon a range of examples including early Soviet modernism, post-war Italian communist composition, African American free jazz and contemporary noise music, my chapter critically surveys the different stances that have been taken by musicians on this question. I then proceed to address two persistent problems that confront any progressive musician wishing to make the case that their practice serves the popular cause. The first of these is difficulty: what places do pleasure and challenge occupy in modernist music, and how might the apparent chasm between practitioners’ and audiences’ experiences be bridged? The second is difference: how does the modernist impulse to contest mainstream culture contend with the present-day heterogeneity of differing cultural norms, subject positions and concepts of the aesthetic
Book review: 'Art, artists and pedagogy: philosophy and the arts in education' edited by Christopher Naughton, Gert Biesta, and David R. Cole
Get PDFIndy, (Paul-Marie-Théodore-) Vincent d’
No full textDescription of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Virginal
No full textDescription of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Singing
No full textDescription of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
Riemann, (Karl Wilhelm Julius) Hugo; Royal Conservatory of The Hague; Sax, Adolphe (Antoine-Joseph); Stadler, Anton Paul; The Hanover Band; Vanderhagen, Amand (Jean François Joseph); Vogl, Johann Michael; Willman, Thomas Lindsay
No full textEntries in the Cambridge Encyclopedia of Historical Performance in Music as follows:
Riemann, (Karl Wilhelm Julius) Hugo (pp.546-547); Royal Conservatory of The Hague (pp.556-557); Sax, Adolphe (Antoine-Joseph) (pp.563-565); Stadler, Anton Paul (pp.584-586); The Hanover Band (pp.613-614); Vanderhagen, Amand (Jean François Joseph) (p.646); Vogl, Johann Michael (p.681); Willman, Thomas Lindsay (pp.691-692).
Description of the Cambridge Encyclopedia of Historical Performance in Music: Recent decades have seen a major increase of interest in historical performance practice, but until now there has been no comprehensive reference tool available on the subject. This fully up-to-date, illuminating and accessible volume will assist readers in rediscovering and recreating as closely as possible how musical works may originally have sounded. Focusing on performance, this Encyclopedia contains entries in categories including issues of style, techniques and practices, the history and development of musical instruments, and the work of performers, scholars, theorists, composers and editors. It features contributions from more than 100 leading experts who provide a geographically varied survey of both theory and practice, as well as evaluation of and opinions on the resolution of problems in period performance. This timely and ground breaking book will be an essential resource for students, scholars, teachers, performers and audiences
“Sounds good, but… what is it?” an introduction to outcome measurement from a music therapy perspective
Get PDF“Sounds good, but… what is it?” This is a common reaction to outcome measurement by music therapy practitioners and researchers who are less familiar with its meanings and practices. Given the prevailing evidence-based practice movement, outcome measurement does ‘sound good’. Some practitioners and researchers, however, have a limited or unclear understanding of what outcome measurement includes; particularly with respect to outcome measures and related terminology around their use. Responding to the “what is it?” question, this article provides an introduction to such terminology. It explores what outcome measures are and outlines characteristics related to their forms, uses and selection criteria. While pointing to some debates regarding outcome measurement, including its philosophical underpinnings, this introduction seeks to offer a useful platform for a critical and contextual understanding of the potential use of outcome measures in music therapy
Engaging with émigré music in Britain
Get PDFNorbert Meyn introduces migrant composers from Nazi Europe who settled in Britain, whose work he has been exploring with the 'Singing a Song in a Foreign Land' project at the Royal College of Music and the London based Ensemble Émigré