The study was concerned with physical, mental and musical characteristics of selected band members. Certain purposes of the study were defined. They were 1. To determine if physical, mental and musical differences existed between sections of the high school band. 2. To determine if these differences were existent at three grade-level groupings of high school and college band members.

The purpose was to investigate muscle potential during the vibrato motion for successful, healthy violin/viola performers. Electromyography was used to analyze parameters of muscle potentials during performance of a standardized exercise. These parameters were (a) evidence of potentials, (b) patterns of potentials, and (c) timing relationships (24 muscles). This study also sought to replicate and expand performance data from previous studies. Procedures from three pilot studies were used to standardize collection of EMG data. Synchronized video recordings were used to determine vibrato speed and conduct motion analysis. EMG data processing prior to analysis included power spectrum analysis and rectification, low-pass filtering, and smoothing data. Motion analysis findings (£D) were 1.09 for the elbow joints and 3.25 for the wrist joints. which was an indication of range of motion, suggested much greater activity in muscles controlling wrist movement than those moving the elbow. The degree of muscle potential and control were generally related to distance from the vibrating hand. Forearm muscle groups (8) demonstrated the greatest evidence of potential (76.5%) and were 18.1% non-periodic. Muscles of the upper arm (7) were off 59.4% and 57.0% non-periodic. Upper arm muscles had greater individual differences. Muscles of the chest and back (9) were collectively inactive (89.1%) and non-periodic (73.3%). With timing relationships, the forearm muscles demonstrated consistent firing patterns. Inconsistent firing patterns were evident in the upper arm, and to a greater degree in the chest and back muscles. Based on evaluations of performer motion and muscle potentials, it was strongly implied that there are (a) distinct roles for various muscles during vibrato (control vs. stabilization/support), (b) significant differences in potential between variables of rest, playing position, and performing, (c) significant differences in potential between some fingers, and (d) no significant differences between violinists and violists. The vibrato motion appeared to be controlled primarily by forearm muscles.

Title: Evaluation of musculoskeletal disorders in pianists Background: Musculoskeletal (MS) disorders are common in pianists. Allsop and Ackland (2010) in their study describe that pianists suffer from MS disorders in 42 %. However, the prevalence of MS disorders differs depending on the region. There has not been done yet any evaluation of prevalence of MS disorders in pianists in Czech republic. This evaluation is crutial to make a comparison of our national results internationally. Furthermore, it is required to establish well-prepared preventional program for starting pianists. Aims: The purpose of this study is to evaluate prevalence of musculoskeletal disorders in pianists. Methods: Our data were collected using questionnaire survey. We distributed questionnaires among czech profesional pianists, piano teachers, and piano students by emails who were older than 18. Results: We sent 390 questionnaires by emails and received 78 of them completed. We revealed that the prevalence of musculoskeletal disorders of all respondents was 72 %. The prevalence was the highest in the group of the age from 18 to 60 reaching 90 %. The most common locality of musculoskeletal disorder was in the forearm. The group of pianists who started to play piano at the age from 3 to 4 were more prone to present with...

The purpose of the study was to explore whether musicians experience Garner interference among the auditory dimensions of pitch and loudness. Specifically, the study explored whether the dimensions of intonation and loudness, when presented to musicians in a five-note musical pattern, were perceived as integral or separable in nature.

Thesis (M.Mus.)--University of the Witwatersrand, Faculty of Humanities, Wits School of Arts, 2013.

MA, School of Music, Faculty of Humanities, University of the Witwatersrand / In 2003 I made a documentary film called Karoo Kitaar Blues with South African songwriter and guitarist, David Kramer, on the rare musicians, music, and instruments of scattered coloured communities in the Northern Cape. When I set out, seven years ago, to make the film I had no intention of making an ethnographic film or producing a visual ethnography in the anthropological sense (I am a documentary filmmaker), but two academic reviews, critical of its lack of ‘ethnographic context’ caught my intention. This dissertation attempts to respond to their critique. I explore the territory of visual anthropology and ethnographic methodology in order to understand why my film, with hindsight, is and is not ‘ethnographic’, and to establish how ethnographic practice could enhance my work as a filmmaker. I use Karoo Kitaar Blues as my visual monograph and examine the differences between ethnographic film and documentary (in the observational mode) with reference to ethnographic methodologies and theory in ethnomusicology, and consider how film can be used ‘as’ ethnography or ‘in’ ethnography. I conclude that Karoo Kitaar Blues film lies somewhere between ethnographic and observational filmmaking.

Esta pesquisa pretende realizar um mapeamento e análise de artefatos cerâmicos da cultura Mochica que contenham personagens que tocam instrumentos sonoros (aerofones, membranofones e idiofones1) com vistas a encontrar nesses \"músicos\" atributos e características que os identificam como figuras que concentram poder político-religioso. O objetivo geral da pesquisa é compreender se haveria um espaço de atuação específico para os músicos nas estruturas de poder mochicas, bem como a relação dos mesmos com as elites durante o período Moche Médio. Este período foi marcado pela ascensão das elites dos vales mochicas ao sul de Jequetepeque, contexto em que surgem, na iconografia da cerâmica ritual arqueológica, muitos músicos portando atributos de indivíduos de elevado status social, como o o Senhor Noturno, o Senhor Solar e o Tomador de Coca, entre outros. O trabalho visa, também, discutir se havia ou não uma relação hierárquica entre grupos de músicos, e seus respectivos instrumentos (tocadores de antaras, quenas, tambores, chocalhos etc.) que reflita o status político-religioso de suas especializações. Foram analisados, além dos dados iconográficos, contextos e padrões funerários relacionados às estruturas de poder mochicas escavados nas últimas três décadas. / This research intends to survey and analyze Moche ceramic artifacts depicting characters associated to sound instruments (aerophones, membranophones and idiophones2). We search in these musicians attributes and features that identify them as political-religious power figures. The main goal of the research is to comprehend how these musicians were inserted in the moche power structures, and their relationship with the elites of the Middle Moche Period, marked by the ascension of political groups from the valleys south of Jequetepeque. In this context many musicians arise in moche ritual ceramic`s iconography holding the attributes of high status individuals, like the Nocturnal Lord, the Solar Lord, the Coca Taker, among others. We also intend to discuss if there was a hierarchical relationship between different categories of musicians and their respective instruments (panpipe players, quena players, drum players, rattle players etc.), which reflect their political-religious status. Besides iconographic data, funerary contexts related to the Moche power structures excavated in the last three decades were also analyzed.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-10-05T12:07:11Z No. of bitstreams: 1 Mauro Barro Fiuza.pdf: 3404780 bytes, checksum: 792d876810683f7ee0328929b2a25b4f (MD5) / Made available in DSpace on 2018-10-05T12:07:11Z (GMT). No. of bitstreams: 1 Mauro Barro Fiuza.pdf: 3404780 bytes, checksum: 792d876810683f7ee0328929b2a25b4f (MD5) Previous issue date: 2018-08-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Introduction: intentional voice distortion creates different vocal qualities that may even resemble to a dysphonic voice. This feature is used in singing as an element of expressiveness in several musical genres but are known as characteristics of rock. Studies have been done with the purpose to understand the ways these distortions are produced, but few sought to understand the acoustic variations of each vocal setting Objective: to analyze different intentional voice distortions in rock singers based on acoustic analysis. Method: eight singers, six men and two women, with an average age of 36 years old, who answered a survey in which they indicated the types of voice distortions they used. Then the following sound samples were collected: vowel emission [e], music section and sustained distorted voice for each of the previously listed types. Acoustic and visual-acoustic analysis were performed and the values of fundamental frequency, the vowel used in the sustained distortion, the spectrographic trace, the amount of sub-harmonics and the range of the harmonic component were extracted. The data of the distortions in the music section and sustained sample were compared and the spectrographic traces were classified according to the presence of harmonics and noise. Results: 47 types of distortions were collected. In 38 types there were only a small variation in the comparison between the samples of the adjustments in the music and sustained distortion. The types of spectrographic traces that mixed harmonics and noise were the majority, 37 of them in the music samples and 38 in the sustained ones. The most used vowels were intermediate (33) and anterior (32). Six types presented only noise and there was a variation in the number of sub-harmonics from zero to eight. Conclusion: of all the intentional voice distortions collected, the majority presented spectrographic traces with the presence of both harmonic and noise components, but with a great variation in the harmonic component ranges and the sub-harmonic ratio in relation to the fundamental frequency. Factors such as the chosen vowel and the fundamental frequency sung influenced the precision of the emission of the distortions, which evidenced the need to understand the specificities of each type. Similarity was also observed when comparing sustained distorted sounds and music sections / Introdução: a distorção vocal intencional cria diferentes qualidades de voz que podem até se assemelhar a uma voz disfônica. Esse recurso é utilizado no canto como elemento de expressividade em diversos gêneros musicais, mas são conhecidos como característicos do rock. Estudos foram realizados com o objetivo de entender as formas de produção dessas distorções, mas poucos buscaram compreender as variações acústicas de cada ajuste. Objetivo: analisar diferentes distorções vocais intencionais em cantores de rock por meio da análise acústica. Método: oito cantores, seis homens e duas mulheres, com média de 36 anos responderam um questionário no qual indicaram os tipos de distorções que dominavam. Em seguida as seguintes tarefas foram gravadas em áudio: emissão da vogal [e] em tom habitual de fala, trecho de música e ajuste distorcido sustentado para cada um dos tipos listados. Foi realizada análise acústica e acústico-visual e extraídos os valores de frequência fundamental, a vogal utilizada na distorção sustentada, o traçado espectrográfico, a quantidade de sub-harmônicos e alcance do componente harmônico. Os dados das distorções na música e sustentadas foram comparados e os traçados espectrográficos foram classificados de acordo com a presença de harmônicos e ruído. Resultados: foram coletados 47 tipos de distorções. Em 38 tipos houve apenas uma pequena variação na comparação entre as amostras dos ajustes na música e sustentadas. Os tipos de traçados espectrográficos que mesclavam harmônicos e ruído foram a maioria, 37 nas amostras na música e 38 nas sustentadas. As vogais mais utilizadas foram as intermediárias (33) e anteriores (32). Seis ajustes apresentaram apenas ruído e houve variação na quantidade de sub-harmônicos de zero a até oito. Conclusão: de todas as distorções vocais intencionais coletadas a maioria apresentou traçado espectrográfico com presença tanto de componente harmônico quanto de ruído, porém, com grande variação no alcance do componente harmônico e da proporção dos sub-harmônicos em relação à frequência fundamental. Fatores como a vogal escolhida e a frequência fundamental emitida influenciaram na precisão da emissão dos ajustes, o que evidenciou a necessidade de se compreender as especificidades de cada um. Também foi constatada similaridade ao comparar ajustes distorcidos sustentados e nas músicas

Ce travail de thèse vise à présenter un certain nombre de tendances et de points de tensions nés ou mis à jour à Cuba à la suite de la période spéciale en temps de paix que l'on peut définir comme une crise économique et sociale d'une ampleur considérable ayant frappé ce pays à la suite de la chute du camp socialiste au début des années 90. Pour ce faire, nous nous centrons sur l'expérience de musiciens qualifiés « d'ordinaires » évoluant dans la capitale, La Havane. C'est ainsi à la lumière du quotidien de ces artistes qu'il nous sera possible de comprendre et de saisir la profondeur de cette crise et des fortes redéfinitions qu’elle met en jeu. Il s’agit de voir les conséquences des moyens mobilisés par le régime socialiste cubain de façon à sortir de cette impasse économique et sociale tout en préservant les acquis sociaux de cette révolution, base de sa légitimité populaire. Seulement, si à terme les réformes engagées (massification du tourisme, progressive mise en avant de comportements économiques libéralisant, double circulation monétaire...) ont permis un redressement économique certain, elles ne vont pas sans questionner, voire entrer en contradiction avec les discours, prérogatives et modes de vie valorisés par le pouvoir. Nous verrons ainsi de quelles manières un certain nombre de tensions, issues de ces changements (entre un passé idéalisé et un futur incertain, entre l’image de l’authentiquement cubain et celle du non-cubain, et enfin entre le nous révolutionnaire et les projections individuelles) sont traités par ces musiciens, particulièrement sensibles au décloisonnement de l’expérience cubaine. Dans leur manière de s'auto-définir en tant qu'artiste, dans le regard qu'ils portent sur leur trajectoire et leur métier, nous verrons que ces individus procèdent à un bricolage, à une négociation identitaire incessante visant à conférer à leurs actes un sens que la réalité sociale et économique a rendu trouble.La vie et les pratiques professionnelles de ces derniers, les moyens qu’ils mobilisent pour lutter et tenter de vivre de leur musique illustrent à notre avis la société cubaine dans son ensemble, marquée par une grande ambivalence, par le besoin « d’inventer » de nouveaux moyens de subsistance et la nécessité d’assembler des éléments en décomposition ou émergents. / The aim of this research is to provide a number of trends and areas of tension that have emerged or evolved in Cuba after the « special period in peacetime », which can be defined as the most considerably developed social and economic crisis that has struck this country, as a result of the socialist camp collapse in the early 90’s. In order to achieve this, we focus on the experience of musicians seen as ordinary in the city of Havana. It is thanks to the observation of artists in action in their everyday life that we will be able to understand and to capture the depth of this crisis and these large redefinitions it causes. The purpose is to define the consequences of the means that have been mobilized by the Cuba's socialist system in order to get out of this social and economic impasse while safeguarding the social benefits of this revolution, based on its popular legitimacy. If in the end the reforms (the massification of tourism, the gradual increase of liberalizing and economical behaviors, and the dual circulation of currencies...) allowed an economic recovery, they lead to a questioning and entering into contradiction with speeches, prerogatives and ways of life valued by those in power. We will see how areas of tension, emanating from changes (between an idealized past and an uncertain future, between the picture of the genuinely Cuban and non-Cuban, and finally between the people of the revolution and the individual who has his own project) treated by these musicians, especially sensitive to the « decompartmentalization » of the Cuban experience. We will see that these musicians, in the way they define theirselves as artists, in their concept of path in life and profession, effect sweeping changes, constantly negotiating questions of identity to ascribe meaning to what they do in this confused, social and economic reality. In their life and professional practices, the means allocated to fight and to try to make a living with music show in our opinion the Cuban society in its entirety marked by a great ambivalence, the need to find new means of subsistence and to bring these decomposing or emerging elements together.

A ansiedade de performance musical (APM) é um subtipo do transtorno de ansiedade social caracterizado pela presença de temores relacionados ao desempenho musical que podem acarretam prejuízos na vida profissional dos músicos. Os sintomas variam de sensações de estresse normais da profissão à sintomas de ansiedade intensos. A literatura sugere que a etiologia da APM envolve aspectos fisiológicos e psicológicos. O conhecimento de outros aspectos como as causas da APM percebidas pelos músicos, estratégias de enfrentamento e variáveis culturais parece importante para uma visão detalhada da APM. O presente projeto teve por objetivo principal descrever o perfil clínico, os aspectos relativos à prevalência, causas percebidas e estratégias de enfrentamento da APM em uma amostra de músicos brasileiros clássicos (GCB) e populares (GPB) e comparar com uma amostra de músicos australianos profissionais (GMA). Foram utilizados diversos instrumentos de auto avaliação em uma amostra de 214 músicos brasileiros (GCB=114; GPB=100) e 376 músicos australianos. Os dados referentes à amostra brasileira foram analisados por meio de programa estatístico específico, em função das variáveis: formação musical, presença/ausência de APM e sexo. Foram realizadas análises comparativas entre músicos clássicos brasileiros e músicos australianos. Adotou-se como nível de significância p<0,05. Os resultados apontam que 38,8% da amostra brasileira apresenta indicadores de APM e não houve diferença significativa de indicadores psiquiátricos entre os grupos GCB e GPB, exceto para subescala social de sensibilidade à ansiedade cuja pontuação média foi maior para o GCP. Quando comparados GCB e GMA, observou-se índices superiores nos indicadores de ansiedade traço, APM e depressão no GCB enquanto o GMA apresentou maiores indicadores de sensibilidade à ansiedade. Os músicos com APM apresentaram um perfil mais comprometido nos indicadores psiquiátricos. Em relação ao sexo, as mulheres apresentaram maiores índices de sensibilidade à ansiedade e depressão. Quanto as causas percebidas de ansiedade, independentemente da condição musical, do sexo e presença/ausência de APM as mais frequentemente apontadas pelos músicos foram a pressão de si próprio, tocar repertório difícil, incertezas ocasionadas por falhas técnicas e preocupação com a reação/avaliação da plateia. Quando comparados em função da formação musical, presença/ausência de APM e país de origem, o GCB, músicos com APM e GMA identificam com maior frequência e significância estatística um maior número de situações causadoras de ansiedade. De forma geral, a maioria das causas percebidas tem locus interno. Quanto às estratégias de enfrentamento, observou-se semelhança nas mais utilizadas independente da formação musical, presença/ausência de APM, sexo e país de origem. As mais utilizadas foram respirar profundamente, aumentar treino, familiarizar-se com local da performance e usar técnicas de relaxamento e, as mais utilizadas também foram efetivas do ponto de vista dos músicos. Nota-se predomínio de estratégias internas aos músicos e baixa procura por recursos externos como profissionais da área da saúde. A APM é uma condição que afeta tanto os músicos brasileiros como os australianos, as causas percebidas de forma geral são associadas a variáveis internas aos músicos que enfrentam esta condição com recursos próprios, com baixa procura por profissionais que poderiam oferecer intervenções mais efetivas. / Musical performance anxiety (MPA) is a subtype of social anxiety disorder characterised by the presence of fear related to musical performance, which can cause impairment in the musician\'s personal and professional life. Symptoms range from the normal stress sensations of the profession to the most intense and harmful anxiety symptoms. The literature suggests that the etiology of MPA involves physiological and psychological aspects. The knowledge of other aspects, such as how MPA causes are perceived by musicians, coping strategies and cultural variables seem important for a detailed view of MPA. The main objective of this project was to describe the clinical profile, prevalence, perceived causes and coping strategy of MPA in a sample of Brazilian classical (GCB) and popular musicians (GPB) and compare them with a sample of Australian professional musicians (GMA). Several instruments of self evaluation were used in a sample of 214 Brazilian musicians (GCB = 114, GPB = 100) and 376 Australian musicians. The data referring to the Brazilian sample were analyzed by means of a specific statistical program, according to the following variables: musical training, presence / absence of MPA and gender. Comparative analysis were performed between Brazilian classical musicians and Australian musicians. The significance level was set at p <0.05. The results indicate that 38.8% of the Brazilian sample presented APM indicators and there was no significant difference of psychiatric indicators between GCB and GPB groups, except for social subscale of anxiety sensitivity wich mean score was higher for GCP. When comparing GCB and GMA, higher indices were observed in trait anxiety, MPA and depression in GCB, whereas GMA showed higher anxiety sensitivity indicators. The musicians with MPA presented a more compromised profile in the psychiatric indicators. In relation to sex, women had higher indices of sensitivity to anxiety and depression. Regarding the perceived causes of anxiety, regardless of the musical condition, sex and presence/absence of MPA, the most frequently pointed out by the musicians were self-pressure, difficult repertoire, uncertainties caused by technical failures and concern with evaluation of the audience. When compared in terms of musical training, presence / absence of MPA and country of origin, the GCB, musicians with MPA and the GMA identify with greater frequency and statistical significance a greater number of situations perceived as causing anxiety. The most perceived causes are internal to the musician. Regarding coping strategies, there was a similarity in the most used, independent of musical training, presence / absence of MPA, gender and country of origin. The most used were to breathe deeply, to increase training, to familiarize oneself with performance set and to use relaxation techniques, and the most used ones were also effective according to musicians. There is predominance of internal strategies of the musicians themselves and low demand for external resources such as health professionals. The MPA affects both Brazilian and Australian musicians. The perceived causes are generally associated with musicians\' internal variables who face this condition with their own resources, with a low demand for professionals who could offer more effective interventions.