scholarly journals Respiratory Variability, Sighing, Anxiety, and Breathing Symptoms in Low- and High-Anxious Music Students Before and After Performing

2020 ◽  
Vol 11 ◽  
Author(s):  
Amélie J. A. A. Guyon ◽  
Rosamaria Cannavò ◽  
Regina K. Studer ◽  
Horst Hildebrandt ◽  
Brigitta Danuser ◽  
...  
Keyword(s):  
Music Students ◽  
High Anxious ◽  
Before And After ◽  
Respiratory Variability

scholarly journals Prolonged performance-related neuroendocrine activation and perseverative cognition in low- and high-anxious university music students

2018 ◽  
Vol 95 ◽  
pp. 18-27 ◽  
Author(s):  
Patrick Gomez ◽  
Carole Nielsen ◽  
Regina K. Studer ◽  
Horst Hildebrandt ◽  
Petra L. Klumb ◽  
...  
Keyword(s):  
Music Students ◽  
Perseverative Cognition ◽  
High Anxious ◽  
Neuroendocrine Activation

Increment of Fatigue, Depression, and Stage Fright During the First Year of High-Level Education in Music Students

2012 ◽  
Vol 27 (1) ◽  
pp. 43-48 ◽  
Author(s):  
Horst Hildebrandt ◽  
Matthias Nübling ◽  
Victor Candia
Keyword(s):  
Music Performance ◽  
Music Students ◽  
Stage Fright ◽  
Negative Effects ◽  
Professional Musicians ◽  
Freshman Year ◽  
Work Related ◽  
Custom Made ◽  
Before And After ◽  
High Level

BACKGROUND: Public opinion associates music performance with pleasure, relaxation, and entertainment. Nevertheless, several studies have shown that professional musicians and music students are often affected by work-related burdens. These are closely related to stress and anxiety. OBJECTIVE: Scrutinizing specific health strains and work attitudes of music students during their freshman year of high-level education. METHODS: One hundred five students in three Swiss music universities were part of a longitudinal study using standardized assessment questionnaires. Before and after their first study year, some custom-made questionnaires designed to fit the particular work environment of musicians were used together with the already validated inquiry instruments. RESULTS: Fatigue, depression, and stage fright increased significantly. CONCLUSIONS: Our results indicate more study is needed and attempts should be made to minimize the stress level, improve the students’ ability to cope with stress, and otherwise reduce their risk for injury. This appears particularly important considering the long-term negative effects of stressors on individuals’ health as revealed by modern research.

Biochemical and Galvanic Skin Responses to Music Stimuli by College Students in Biology and Music

1992 ◽  
Vol 74 (3_suppl) ◽  
pp. 1079-1090 ◽  
Author(s):  
Sherman D. VanderArk ◽  
Daniel Ely
Keyword(s):  
Plasma Cortisol ◽  
Physiological Responses ◽  
Music Students ◽  
Music Majors ◽  
Physiological Changes ◽  
Biology Students ◽  
Before And After ◽  
Behavioral Therapies ◽  
Skin Responses ◽  
Galvanic Skin Responses

The purpose of this study was to examine biochemical and physiological responses to musical stimuli. Specifically, university music and biology students' plasma levels of norepinephrine, endorphin, and Cortisol, and their galvanic skin responses were measured before and after listening to two different musical selections in an anechoic chamber and during controlled silence. The results indicated that biochemical variables changed significantly in both groups during listening to music but were not different during the controlled silence. These data suggest that music majors may listen more analytically to music. GSR responses were significantly higher for music majors than biology majors, and plasma Cortisol increased in music students but decreased in biology students. Music which elicits specific emotions induces physiological changes which may be beneficial to relaxation and behavioral therapies.

Cortisol, Biochemical, and Galvanic Skin Responses to Music Stimuli of Different Preference Values by College Students in Biology and Music

1993 ◽  
Vol 77 (1) ◽  
pp. 227-234 ◽  
Author(s):  
Sherman D. Vanderark ◽  
Daniel Ely
Keyword(s):  
Group Analysis ◽  
Music Students ◽  
Control Group ◽  
Music Listening ◽  
Music Majors ◽  
Before And After ◽  
Skin Responses ◽  
Cortisol Levels ◽  
Galvanic Skin Responses ◽  
Biology Majors

The purpose of this study was to examine biochemical and galvanic skin responses to music stimuli. Specifically, 30 university biology and 30 music students' plasma levels of norepinephrine and cortisol and their galvanic skin responses were measured before and after listening to two different musical selections, one of which was preferred (liked) by the music students and not preferred (disliked) by the biology students. The music-listening sessions and the controlled silent sessions were done in an anechoic chamber. 30 biology majors and 30 music majors were in the experimental groups; 14 biology and 17 music majors comprised the control group. Analysis indicated that the Cortisol levels and galvanic skin responses were significantly higher for the music majors than the biology majors. The data indicate that music majors listen more critically and analytically to music than biology majors, and Cortisol levels are associated with this as increases in music majors and decreases in biology majors after the music.

scholarly journals Temperament systems influence emotion induction but not makam recognition performance in Turkish makam music

2020 ◽  
pp. 030573562092289
Author(s):  
Firat Altun ◽  
Hauke Egermann
Keyword(s):  
Mental Representations ◽  
Recognition Performance ◽  
Emotional Responses ◽  
Music Students ◽  
Ear Training ◽  
Emotion Induction ◽  
Training Class ◽  
Equal Temperament ◽  
Before And After

We tested how induced emotions and Turkish makam recognition are influenced by participation in an ear training class and whether either is influenced by the temperament system employed. The ear training class was attended by 19 music students and was based on the Hicaz makam presented as a between-subjects factor in either unfamiliar Turkish original temperament (OT, pitches unequally divided into 24 intervals) or familiar Western equal temperament (ET, pitches equally divided into 12 intervals). Before and after the class, participants listened to 20 music excerpts from five different Turkish makams (in both OT and ET versions). Emotion induction was assessed via the 25-item version of Geneva Emotion Music Scales (GEMS-25), and participants were also asked to identify the makam that was present in the excerpt. The unfamiliar OT was experienced as less vital and more uneasy before the ear training class, and recognition of the Hicaz makam increased after ear training classes (independent of the temperament system employed). Results suggest that unfamiliar temperament systems are experienced as less vital and more uneasy. Furthermore, being exposed to this temperament system for just 1 hr does not seem to be enough to change participants’ mental representations of it or their emotional responses to it.

Alexander Technique classes for tertiary music students: Student and teacher evaluations of pre- and post-test audiovisual recordings

2019 ◽  
Vol 38 (2) ◽  
pp. 194-207
Author(s):  
Janet Davies
Keyword(s):  
Positive Impact ◽  
Muscle Tension ◽  
Music Students ◽  
Alexander Technique ◽  
Subjective Experiences ◽  
Professional Musicians ◽  
Performance Quality ◽  
Before And After ◽  
Post Test ◽  
And Performance

Tertiary music students show patterns of playing-related musculoskeletal disorders (PRMDs) similar to professionals, indicating the need for effective education in management and prevention during student years. When problems occur, music students are most likely to seek advice from their instrumental teachers; therefore, it is important for teachers to be involved in ensuring education programs are relevant to the occupational and artistic needs of both student and professional musicians. Musicians have previously reported improvements in outcomes associated with PRMDs and performance quality following Alexander Technique (AT) classes. In this study, 12 university music students and eight of their teachers evaluated video-recordings filmed before and after a semester of weekly, purpose-designed AT classes. Positive changes were observed in muscle tension, posture, tonal resonance, breathing, instrumental technique, and movement quality. Noted improvements were consistent with student participants’ subjective experiences, reported previously from questionnaire data. The results suggest that AT training at the instrument may have a direct positive impact on key factors associated with PRMDs as well as playing quality. Use of video assessments as a component of controlled, mixed-method studies with larger populations is recommended to establish the potential value of AT for inclusion in music training.

scholarly journals The relationship between music performance anxiety, subjective performance quality and post-event rumination among music students

2017 ◽  
Vol 46 (1) ◽  
pp. 136-152 ◽  
Author(s):  
Carole Nielsen ◽  
Regina K. Studer ◽  
Horst Hildebrandt ◽  
Urs M. Nater ◽  
Pascal Wild ◽  
...  
Keyword(s):  
Social Anxiety ◽  
Music Performance ◽  
Performance Anxiety ◽  
Music Students ◽  
Music Performance Anxiety ◽  
Performance Quality ◽  
Social Events ◽  
High Anxious ◽  
The Relationship ◽  
Different Levels

According to cognitive models, the negative perception of one’s performance and the post-event rumination (PER) occurring after stressful social events maintain social anxiety. These aspects have hardly been studied in music performance anxiety (MPA), a specific form of social anxiety. The first aim of this study was to analyze the development of negative and positive PER over two days following a soloist concert, depending on the usual MPA level. The second aim was to investigate if subjective performance quality serves as mediator between MPA and PER. Negative and positive PER were assessed 10 minutes, one day and two days after a concert in 72 music students with different levels of usual MPA. Subjective performance quality was measured 10 minutes after the study concert. An increasing usual MPA level was associated with more negative and less positive PER. Both decreased over time. Negative PER decreased less rapidly in high-anxious than in low-anxious musicians and positive PER decreased more rapidly in low-anxious than in high-anxious musicians. Subjective performance quality mediated the relationship between MPA and PER. These findings extend previous knowledge in social anxiety to the field of MPA and have implications for interventions aiming at reducing MPA.

Effects of an Education and Prevention Course for University Music Students on Their Body Awareness and Attitude Toward Health and Prevention

2018 ◽  
Vol 33 (2) ◽  
pp. 131-136 ◽  
Author(s):  
Kári Árnason ◽  
Kristín Briem ◽  
Árni Árnason
Keyword(s):  
Music Performance ◽  
Body Awareness ◽  
Musical Performance ◽  
Music Students ◽  
Subjective Rating ◽  
Significant Group ◽  
Warm Up ◽  
Education Group ◽  
Before And After ◽  
Over Time

BACKGROUND: Studies show a high cumulative prevalence of musculoskeletal disorders among musicians. Increased emphasis is needed on studying the effectiveness of education and prevention courses in music schools. OBJECTIVES: To investigate the effects on music students of an education and prevention course on body awareness and their attitude toward health and prevention. METHODS: 23 music students participated in this prospective descriptive comparative study, with 13 students taking the course and serving as a prevention education group (PG) and 10 students serving as a comparison group (CG). The course met once weekly for 2 semesters and included lectures and practical sessions. Before and after the course, participants answered a questionnaire about their level of physical activity, warm-up exercises prior to musical performance, health-promoting activities, and subjective body awareness during musical performance and during activities of daily living (ADL). RESULTS: Over the 9-month study period, the PG group increased, and the CG lessened, the amount of warm-up prior to music performance, showing a significant group difference after the course (p=0.036). Significant interactions were seen for subjective body awareness scores (between groups over time) during practice (p=0.026) and during ADLs (p=0.004), as the PG group had greater positive change over time. No group differences were found in students’ subjective rating of body awareness during live performance. CONCLUSIONS: Participation in a prevention and education course may be beneficial for music students due to improved subjective body awareness and attitude toward prevention strategies.

Deformation Replication

1970 ◽  
Vol 28 ◽  
pp. 280-281
Author(s):  
J. Temple Black
Keyword(s):  
Cutting Speed ◽  
Machining Process ◽  
Depth Of Cut ◽  
Rake Face ◽  
Orthogonal Machining ◽  
Aluminum Chips ◽  
Before And After ◽  
Materials Used ◽  
Glass Knife ◽  
Very High

Tool materials used in ultramicrotomy are glass, developed by Latta and Hartmann (1) and diamond, introduced by Fernandez-Moran (2). While diamonds produce more good sections per knife edge than glass, they are expensive; require careful mounting and handling; and are time consuming to clean before and after usage, purchase from vendors (3-6 months waiting time), and regrind. Glass offers an easily accessible, inexpensive material ($0.04 per knife) with very high compressive strength (3) that can be employed in microtomy of metals (4) as well as biological materials. When the orthogonal machining process is being studied, glass offers additional advantages. Sections of metal or plastic can be dried down on the rake face, coated with Au-Pd, and examined directly in the SEM with no additional handling (5). Figure 1 shows aluminum chips microtomed with a 75° glass knife at a cutting speed of 1 mm/sec with a depth of cut of 1000 Å lying on the rake face of the knife.

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