The purpose of this study was to investigate the effects of trumpet playing upon the heart. A Holter monitor was used to record electrocardiograms (ECGs) to examine the heart's response during musical performances and practice sessions.

This study investigated the antinuclear musical compositions that occurred between the dropping of the first nuclear detonation device in 1945 and the accident at the Three Mile Island nuclear energy facility near Harrisburg, Pennsylvania. This study utilized a framework provided by Kenneth Burke in that the five areas of the pentad--scene, agents, acts, agencies and purposes--were investigated in relation to one another. Each of these areas was investigated with regard to the unique nature of the medium of popular song operating as a cultural key. The scenic analysis centered upon the cause of the exigency that brought about the antinuclear music. As the uses of nuclear energy changed from military uses to energy generation, the musical and lyrical content also changed. Special consideration of the Musicians United for Safe Energy movement was presented in an historical context, noting antecedent movement activity. Other positive, negative and neutral agents were also considered. The specific acts of the nuclear age are divided into actual physical, historically verifiable actions with regard to nuclear activity and in incipient action as presented through the lyrics of the musical compositions. Consideration of the agencies used by the positive agents centered around the concept of identification as essential to the movement against nuclear energy. This identification was considered as "Identification Of," "Identification With," and a third type of "Corporate Identification," in that conflicting identifications may occur. The purposes of the antinuclear movement were to fight the proliferation of nuclear arms and energy generation facilities through the cohesive force of music to mobilize the youth on behalf of the antinuclear movement, to provide a sense of belonging and participation in peer group activity, and to provide a release for the youth of this era of history. The conclusions of this research indicate that the antinuclear musical activity has provided the vocabulary, the imagery and the syntax with which the public addressed nuclear energy when the Three Mile Island episode solidified public opinion on the issue.

No description available.

This work surveys currently available methods for measuring human brainwaves in order to generate music and technologies for real-time transmission of audio and music over the Internet. The end goal is to produce a performable music system which sends live human brainwaves over the Internet to produce sounding music at another, physically separated location.

No description available.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / The evolutionary origins of music, defined as “an intentional action in which complex, learned vocalizations (and/or instrumentally produced sound) are combined with the movement of the body in synchrony to a beat” is investigated through an appraisal of the musilanguage theory and relevant literature. The biological adaptations allowing the production and perception of music are identified and their evolutionary histories investigated. The critical adaptations that made rhythmical body movement possible evolved around 1.6 million years ago. These include habitual bipedalism and changes in the vestibular system. There is almost no fossil evidence to inform on the timing and nature of the complex, learned vocalization. However, that the thoracic vertebrate canal had modern proportions by 600 000 years ago indicates that archaic humans were able to achieve the respiratory control necessary to sing. The size of this canal is a proxy for the number of nerve cells that control respiration via the intercostal and abdominal muscles. Musicality is essential to the human mind. Infants are born with rudimentary musical skills with regard to melody, temporal sequences and vocal and bodily imitation. These capabilities are central to the newborns’ innate ability to elicit care by synchronizing their vocal and bodily actions with that of the caregivers. Musical rhythm is further used to entrain bodily and neural oscillations and this permit the creation of trust and social bonding. It is concluded that protomusic developed between 1.6 million and 600 000 years ago. Protomusic consisted of entrained rhythmical whole body movements initially combined with grunt-like vocalizations. The evidence investigated cannot be used to infer the origins of modern music. KEYWORDS: Music, Evolution, Synchronisation, Melody, Dance, Bipedality, Vestibular system, Thoracic vertebrate canal, Infant-directed communication, Neural entrainment

No description available.

This thesis explores the recent phenomenon of music concert goers filming these concerts and uploading the footage to YouTube. This contemporary practice poses several questions of the nature of contemporary music culture. The status of the concert as live event is problematised by this mediation of the experience. The videos create producers of fans and allow these fans to make a substantive contribution to music culture as authors of music texts consumed through a major distribution network. The fact that these fans are not paid for their efforts begs the question as to what they gain from this enterprise; particularly as it serves as a distraction for filmers from the immersive concert experience. This thesis will use the work of Walter Benjamin on the ‘aura' as a yardstick against which to judge current attitudes amongst music fans as to the status of live music alongside other ways of experiencing music. The thesis will also offer a contemporary reappraisal of Pierre Bourdieu's concept of ‘cultural capital' that accounts for the recognition that filmers receive from other music fans for their efforts in filming concerts. Concerts are restricted spaces in which music is simultaneously produced and consumed. Broadcasting videos of these events on YouTube provides recognition for filmers both for having attended and managed to capture footage to be shared with those unable to attend for various reasons. Filmers are not paid for their efforts and so this recognition serves as a form of cultural capital in lieu of financial reward. The thesis is based upon interviews with a global sample of music fans who either film concerts or watch these films on YouTube.

Flutists have reported musculoskeletal pain from practicing and performing their instrument. This study was a statistical approach to investigate potential causal risk factors for flute related pain among high school and college students. The study focused on the relationship between flute related pain and musical background or anthropometric measurements including size, strength and flexibility. Subjects included thirty high school and college-aged flutists who were assessed using a questionnaire, bi-lateral anthropometric measurements of the upper-extremities, upper-extremity performance tests for range of motion, isometric strength and rotation speed, and instrument specific questions. Four questions regarding pain associated with flute playing were treated as dependent variables and used for correlation and regression analyses with other independent variables. A six-factor regression model was created and each model was statistically significant. Results of this study show that strength, flexibility, pain spots, and exposure are risk factors for flute related pain. Both left and right pinch strength and right isometric pronation strength were significantly correlated to flutists experiencing pain while playing. Knowledge of these factors in relationship to pain is needed in flute pedagogy to help teachers and performers understand why flutists report pain during and after playing. Additional studies are warranted for replication of this study and for determining the clinical and pedagogical relevance of these findings.

Yim-chi Ho. / "Running head: Effects of music training on memory of children." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 51-65). / Abstracts in English and Chinese. / ABSTRACT (English Version) --- p.ii / ABSTRACT (Chinese Version) --- p.iii / ACKNOWLEDGEMENTS --- p.iv / TABLE OF CONTENTS --- p.v / LIST OF TABLES --- p.vi / LIST OF FIGURES --- p.vii / Chapter CHAPTER I - --- INTRODUCTION --- p.1 / Chapter CHAPTER II - --- METHOD --- p.13 / Chapter CHAPTER III - --- RESULTS --- p.19 / Chapter CHAPTER IV - --- DISCUSSION --- p.42 / REFERENCES --- p.51