Musculoskeletal disorders are common among musicians at all levels of performance. Since music teachers train our future musicians it is important to understand their work environment. By creating good examples of a healthy work environment, they can teach their students how to stay healthy and to prevent pain. The aim of this thesis was to study the work environment of music teachers at municipal music schools, with regard to physical and psychosocial factors and musculoskeletal disorders with the focus on neck and shoulder disorders. An additional aim was to investigate the variability of the playing technique in string players and to investigate if they could play with greater variation in the trapezius muscle activity pattern after a training intervention program. In a cross-sectional study at 23 municipal music schools, 171 out of the 208 (82%) music teachers reported that they had experienced work related musculoskeletal disorders (WMSDs) during the previous year. Women reported significantly more symptoms in the neck, the shoulders and the upper back compared to men. Both physical and psychosocial work factors were associated with neck and shoulder disorders. For women “high mental work demands” and “teaching at many schools” could be seen as risk factors and for men “lifting”, “playing the guitar” and “low social support at work” were risk factors. The occurrence of WMSDs was also investigated, over an eight-year period, in music teachers at one music school. The result showed that neck, shoulder and lower back disorders were common and tended to be of long duration and to increase over the years. In an interview study, nine music teachers focused on what they perceived to be important for their health and well-being. Replenishing and using up energy was found to be the core category. Creativity in the music and working with other musicians were perceived as sources of energy, while the goals of the organisation were experienced as stressful and used up energy. Whether the work was regarded as pedagogical or musical could affect the perception of health and the strategies for dealing with the strains of work. In two studies using electromyography, the variation in the trapezius muscle activity pattern in string musicians was investigated. The results suggested that each musician could repeat their muscular activity pattern in a similar way between two playing sessions. No difference was found in the trapezius muscle activity between five violinists who trained basic Body Awareness Therapy (BAT), a technique having its roots in Tai Chi Chuan tradition, compared to a reference group of nine violinists who did not take part in any training. However, the training group perceived positive changes in breathing, muscular tension, postural control and concentration during practice sessions. Neck and shoulder disorders were associated with physical and psychosocial factors at work. A process of replenishing and using up energy was important for music teachers’ health. The playing technique in string musicians seemed to be repeatable but difficult to affect over a short-term period. For future musicians it is crucial to learn good working technique at an early age. In the learning process the music teacher is a vital role model. / <p>Diss. (sammanfattning) Umeå : Univ., 2003, Härtill 5 uppsatser</p> / digitalisering@umu

Dans une société française d'Ancien Régime qui se pense essentiellement en termes d'étiquette sociale et qui aime à attribuer une place précise à chaque individu afin d'établir des hiérarchies, les musiciens apparaissent comme un groupe professionnel difficile à catégoriser. Ils vivent des réalités très diverses en fonction des profils, depuis l'organiste de la cathédrale jusqu'au violoniste qui anime une noce de quartier, en passant par le trompette municipal, le tambour militaire et le musicien de rue. L'incertitude qui entoure leur statut les rend idéals afin d'interroger le regard que porte la société moderne sur elle-même. La présente thèse se propose d'étudier ce groupe socio-professionnel dans une démarche prosopographique à l'intérieur d'une zone géographique large qui englobe la Provence et les États pontificaux rhodaniens au XVIIIe siècle. Trois axes principaux guident nos réflexions sur les musiciens : les pratiques professionnelles du groupe, l'identité sociale qui façonne et définit ses membres, et les mobilités qui les caractérisent, aussi bien sociales que spatiales. Interdépendants, ces trois thèmes se mêlent et s'influencent constamment. / In the french Ancien Régime society, characterized by social etiquette and assigning specific positions to individuals so that hierarchies are established, musicians appear to form a professional group difficult to categorize. They experience many realities according to their profiles : the organist from the cathedral, the violinist enlivening a district wedding, the town trumpet, the military drum or the street musician. The uncertainty regarding their status make them an ideal population to study in order to examine the way modern society views itself. This thesis offers to study this socio-professional group with a prosopographic approach inside a large geographic area that encompasses Provence and the pontifical states of the Rhône in the 18th century. Our reflection on musicians follow three main guidelines : the professional practices of the group, the social identity that shapes and defines its members, and the spatial and social movements characterizing their distribution across the territory. These three themes are mutually dependent as they constantly blend and influence each other.

nÃo hà / Este trabalho busca, atravÃs das entrevistas e fontes escritas, narrar a HistÃria de um movimento cultural e musical que se originou em Fortaleza, nos anos 60, envolvendo o rÃdio, o teatro, as artes plÃsticas e a polÃtica, especialmente a relaÃÃo, mÃsico e mÃsica, suas experiÃncias de vida e condiÃÃo social. A confluÃncia de movimentos culturais e espaÃos produtores, no inÃcio dos anos 60, ConservatÃrio, grupos como o Cactus e o Gruta, os Institutos de FÃsica e Arquitetura e a Faculdade de Direito. Os Bares, BalÃo Vermelho, Estoril e AnÃsio foram de fundamental importÃncia para a aproximaÃÃo dos jovens artistas e produÃÃo musical. Os Festivais produzidos na segunda metade dos anos 60, particularmente o IV Festival da MÃsica Popular do CearÃ, o I Festival da MÃsica Popular Aqui e os Festivais Nordestinos com eliminatÃrias em Fortaleza foram decisivos para que os jovens artistas acreditassem nos trabalhos, favorecidos tambÃm pelos programas de televisÃo, âPorque Hoje à SÃbadoâ e o âShow do Mercantilâ, incentivando-os em suas apresentaÃÃes no contato com artistas consagrados. Portanto, a preocupaÃÃo central serà a compreensÃo de como esses artistas moveram-se em busca do sucesso e suas inserÃÃes no ambiente musical, participando de programas como âPropostaâ, fazendo mÃsica por encomenda, usando o Festival de BrasÃlia e o III e o IV Festival UniversitÃrio da MÃsica Popular Brasileira como vitrine, vergando os entraves para alcanÃar uma maior receptividade no mercado fonogrÃfico a nÃvel local e nacional, conhecidos como âPessoal do CearÃâ. / This work aim is to tell about, through interviews and bibliographic sources, the history of a cultural and musical revolution that derived from Fortaleza, in the sixties. This movement involved the radio, theater, plastic arts and politics, specially in relacion to music and musician, his life experience and social condition. The confluence of cultural expressions and producing spaces, at the beginning of 60âs: Alberto Nepomuceno Conservatory, groups as Cactus and Gruta, Phisics and Arquitecture Institutes and the Law College. Some pubs as BalÃo Vermelho, Estoril and AnÃsio were of fundamental importance for congregating young artists and spread out their compositions. Famous festivals which happened in the second half of 60âs, particularly the IV Festival of CearÃâs Popular Music and other ones in those years attracted TV interest and put these composers in contact with great national names. So, the target of this study is to feed the comprehension of how these new artists moved, including composing by order and using important musical events as a spring-board for their careers. Fighting to get a place in the brazilian phonographic market, they became known, in the whole country as âPessoal do CearÃâ.

Studien undersöker hur kontrabaspedagoger på högskolenivå jobbar med undervisning i improvisation och vilka implikationer det kan få när undervisningen sker i en akademisk miljö. Förhoppningen var att studien, genom kvalitativa intervjuer med framstående jazzbasister, som även jobbar som kontrabaspedagoger, skulle ta fram en samling idéer för undervisning av improvisation som kan användas på jazzutbildningar och som kan vara till användning för framtida undervisning i improvisation på kontrabas. Med hjälp av begrepp från vedertagna läroteorier från främst sociokulturell tradition analyseras resultat för att försöka besvara forskningsfrågorna. Resultatet visar att ett bra gehör och god teknik är de två viktigaste idealen för den improviserande basisten och att kontrabaspedagoger lär ut verktyg för improvisation till sina studenter. Vidare visade resultatet att den stora fördelen med att jobba med jazzundervisning i en akademisk miljö är att den är, för studenter, en mötesplats för likasinnade. / This study asks the question how upright bass teachers work with teaching improvisation on the university level and what implications the academic environment could have for the students. The aim for this study was, through qualitative interviews with renowned bassists, to gather some ideas on teaching improvisation that can be used for future teachings of improvisation on the upright bass. With the use of terms from theories of learning, the results were analyzed to answer the research questions. The results show that a good ear and technique are the most important ideals among improvising bass players, and furthermore teachers of jazz bass improvisation saw it as their role to teach tools for improvisation to the students. Finally, the results show that the big advantage of learning jazz in the academic environment is that the student gets to meet peers with the same interests as they have.

Occupational burnout is a concern to the health and longevity of clergy and musician careers. However, no known study has assessed occupational burnout among pastoral musicians. A literature review revealed pastoral musicians anecdotally experienced multi-tasking, workplace politics, inequality of workload, competing liturgical styles, lack of job security, lack of financial security, and lack of rest, among other indicators of burnout. Therefore, the aims of this paper were to: (1) describe pastoral musicians as a population; (2) identify the prevalence rate of burnout among pastoral musicians; (3) investigate the relationship between pastoral musicians' burnout and religious coping; and (4) investigate the relationships between pastoral musicians' burnout and depression, anxiety, and stress. In 2021, an online questionnaire was designed to assess burnout among pastoral musicians. Dissemination techniques included emails to members of the Hymn Society of North America and via social media to collect data from pastoral music directors in the United States of America. The survey yielded n = 1,050 respondents: 83.8% experienced one or more symptoms of burnout (41.3% with low efficacy; 12.4% with high emotional exhaustion; 21.3% with high cynicism; 8.8% with burnout). Ineffectiveness was positively correlated with negative religious coping. Emotional exhaustion and cynicism were positively correlated with negative religious coping. COVID-19 affected 91.3% (n = 936) of pastoral musicians. This study contributed quantitative and qualitative analysis to pastoral musician research. Findings demonstrate burnout is prevalent among American pastoral musicians.

Dissertation submitted in partial compliance with the requirements for the Master’s Degree in Technology: Chiropractic, Durban University of Technology, 2010. / Background: Professional orchestral string musicians are exposed to many physical and psychological stressors due to demands placed on them from playing their instruments. The prevalence of performance-related musculoskeletal disorders (PRMD’s) in this highly skilled group of individuals has been investigated internationally, consistently showing a high injury rate. There is however, a paucity of literature documenting the prevalence of musculoskeletal injuries in South African professional orchestral string players. It is hypothesized that South African trained orchestral string musicians may be at a greater risk for PRMD development due to the unique training and performance environments encountered in this country. Objectives: This study aimed to determine the demographic and injury profile; prevalence rate of current injury and risk factors for musculoskeletal injury in South African professional orchestral string musicians. Method: The study utilized a self administered quantitative questionnaire distributed to all string players in the three professional orchestras in South African in a semi-supervised fashion. SPSS version 15.0 (SPSS Inc., Chicago, Illinois, USA) was used to analyze the data. A p value < 0.05 was considered as statistically significant. iv v Results: There were 27 respondents, with the average participant being a Caucasian, right handed, non-smoking female, 37.11 years of age, 1.5631 meters tall, with a weight of 62.96 kilograms (BMI = 25.768) who exercised regularly (primarily in the gym). A bachelors degree in Music was the most commonly awarded qualification, obtained between the years 2000 and 2009, from a University outside of the Republic of South Africa. The prevalence of PRMD’s in the sample was 63% (n = 17), with a 95% confidence interval of 42.4% to 80.6%.In this study there was a high rate of injury (6.53 PRMD’s per player over a 12 month period), equating to 111 reported injuries in a population of 27 string players. The upper back (defined as the area between the shoulder blades) was the most commonly injured part of the body (77.8%, n = 21), followed by the upper extremity, mainly the shoulder (70.4%, n = 19). No statistically significant relationships were found in determining and confirming expected risk factors in the string players. Conclusion: Professional orchestral string musicians in South Africa suffer from a high rate of injury which is comparable to international studies of the same nature

James Caesar Petrillo, President of the American Federation of Musicians, called a strike effective July 31, 1942, prohibiting union members from making any disc recordings or electrical transcriptions. The present study recounts the history of that strike, including efforts to end it, reactions to it by various government and trade organizations and the circumstances under which it finally did end. The study focuses on the effect of the strike on radio broadcasters, both directly (through recordings they used) and indirectly (through the strike's effects on the recording and related industries), and concludes that it changed the character of radio's music somewhat, but had little detrimental effect on radio's profits.

Este estudo teve como objetivo central compreender os processos de socialização musical e profissional pelos quais as duplas sertanejas passaram para se constituírem como profissionais da música. A investigação buscou compreender: Por que essas pessoas quiseram cantar sertanejo? Como se formaram? E como atuaram/am? Que experiências com essa "música sertaneja", com o universo sertanejo, ou não, fizeram ou fazem com que esses cantores cantem dessa maneira hoje? Como essas experiências músico-profissionais podem ser compreendidas sob o ponto de vista da educação musical? Como desvendar as aprendizagens musicais e vocais que se dão nas experiências profissionais desses cantores? Dentro da abordagem qualitativa, a pesquisa adota como metodologia o estudo de caso, utilizando como técnica de coleta de dados a entrevista semiestruturada. Foram realizadas entrevistas com oito duplas sertanejas localizadas na região do Triângulo Mineiro/MG. Além disso, são considerados os documentos audiovisuais produzidos pelas e sobre as duplas sertanejas, disponíveis em redes sociais. A compreensão da socialização musical e profissionalização das duplas fundamenta-se nos conceitos de socialização primária (SETTON, 2008, BERGER; LUCKMAN, 1999), socialização profissional (DUBAR, 2005) e socialização musical (MÜLLER, 1992). As análises revelam que as aprendizagens musicais se dão de forma difusa, em diversas instâncias de socialização - família, amigos, mídias -, quando aprendem sem saber, de forma espontânea, ou sem terem a consciência de que se está aprendendo. A profissionalização se dá na socialização profissional, sobretudo quando passam a construir suas carreiras na profissão em música, e nos momentos de socialização músico-profissional - shows, gravações em estúdio, ensaios e no aprendizado do cantar em dupla. Compreender a socialização musical e a profissionalização de duplas sertanejas, além de contribuir para a área de educação musical, pode incentivar outras reflexões sobre as possibilidades do ensino/aprendizagem do canto popular e, também, sobre aprendizagens que se dão nas experiências e vivências com práticas musicais sertanejas. / The main objective of this study was to understand processes of musical and professional socialization through which singers who sing in duet “música sertaneja” came to constitute themselves as music professionals. The study aimed to understand: Why these people wanted to sing “música sertaneja”? How they formed? And how did they acted/act? What experiences with this "música sertaneja", with the sertanejo universe or not, have made or make these singers sing this way today? How these musician-professional experiences can be understood from the point of view of music education? How to uncover the musical and vocal learning that take place in professional experiences of these singers? Within the qualitative approach the research adopts as methodology the case study, using as data collection technique the semi-structured interview. Interviews were conducted with eight singers who sing in duet “música sertaneja” located in the region of Triangulo Mineiro/MG - Brazil.In addition, are considered the audiovisual documents produced by and about singers who sing in duetthat are available in social network.Understanding the musical socialization and professionalization of singers the singing in duet is based on concepts of primary socialization (SETTON, 2008, BERGER; LUCKMAN, 1999), professional socialization (DUBAR, 2005) and musical socialization (MÜLLER, 1992).Analysis reveals that musical learning takes place diffusely in different instances of socialization - family, friends, media - when they learn without knowing, spontaneously or without being aware that they are learning.Professionalization takes place in professional socialization when they begin to build their careers in music professions and also occurs in moments of music-professional socialization - shows, studio recordings, rehearsals and the learning of sing in duet. Understand the musical socialization and the professionalization of singers who sing in duet as well as contributing to the area of music education can encourage other reflections on the possibilities of teaching/learning of popular sing and also about learning that occur in the experiences and livingness with “sertanejo” musical practices.

As result of the Contrapunctus European project the design of the Braille Music Mark-up as an XML representation of a music scores in Braille has been carried out. We propose a design of a prototype system for translating these kinds of files into spoken music encoded in DAISYXML. In this way any blind musician may be able to memorize any Braille score using a DAISY reader. Therefore the dependency of reading BMML files in front of a computer would be eliminated. This is a first work on feasibility which will be improved and managed by a working group.

Este estudo teve como objetivo central compreender os processos de socialização musical e profissional pelos quais as duplas sertanejas passaram para se constituírem como profissionais da música. A investigação buscou compreender: Por que essas pessoas quiseram cantar sertanejo? Como se formaram? E como atuaram/am? Que experiências com essa "música sertaneja", com o universo sertanejo, ou não, fizeram ou fazem com que esses cantores cantem dessa maneira hoje? Como essas experiências músico-profissionais podem ser compreendidas sob o ponto de vista da educação musical? Como desvendar as aprendizagens musicais e vocais que se dão nas experiências profissionais desses cantores? Dentro da abordagem qualitativa, a pesquisa adota como metodologia o estudo de caso, utilizando como técnica de coleta de dados a entrevista semiestruturada. Foram realizadas entrevistas com oito duplas sertanejas localizadas na região do Triângulo Mineiro/MG. Além disso, são considerados os documentos audiovisuais produzidos pelas e sobre as duplas sertanejas, disponíveis em redes sociais. A compreensão da socialização musical e profissionalização das duplas fundamenta-se nos conceitos de socialização primária (SETTON, 2008, BERGER; LUCKMAN, 1999), socialização profissional (DUBAR, 2005) e socialização musical (MÜLLER, 1992). As análises revelam que as aprendizagens musicais se dão de forma difusa, em diversas instâncias de socialização - família, amigos, mídias -, quando aprendem sem saber, de forma espontânea, ou sem terem a consciência de que se está aprendendo. A profissionalização se dá na socialização profissional, sobretudo quando passam a construir suas carreiras na profissão em música, e nos momentos de socialização músico-profissional - shows, gravações em estúdio, ensaios e no aprendizado do cantar em dupla. Compreender a socialização musical e a profissionalização de duplas sertanejas, além de contribuir para a área de educação musical, pode incentivar outras reflexões sobre as possibilidades do ensino/aprendizagem do canto popular e, também, sobre aprendizagens que se dão nas experiências e vivências com práticas musicais sertanejas. / The main objective of this study was to understand processes of musical and professional socialization through which singers who sing in duet “música sertaneja” came to constitute themselves as music professionals. The study aimed to understand: Why these people wanted to sing “música sertaneja”? How they formed? And how did they acted/act? What experiences with this "música sertaneja", with the sertanejo universe or not, have made or make these singers sing this way today? How these musician-professional experiences can be understood from the point of view of music education? How to uncover the musical and vocal learning that take place in professional experiences of these singers? Within the qualitative approach the research adopts as methodology the case study, using as data collection technique the semi-structured interview. Interviews were conducted with eight singers who sing in duet “música sertaneja” located in the region of Triangulo Mineiro/MG - Brazil.In addition, are considered the audiovisual documents produced by and about singers who sing in duetthat are available in social network.Understanding the musical socialization and professionalization of singers the singing in duet is based on concepts of primary socialization (SETTON, 2008, BERGER; LUCKMAN, 1999), professional socialization (DUBAR, 2005) and musical socialization (MÜLLER, 1992).Analysis reveals that musical learning takes place diffusely in different instances of socialization - family, friends, media - when they learn without knowing, spontaneously or without being aware that they are learning.Professionalization takes place in professional socialization when they begin to build their careers in music professions and also occurs in moments of music-professional socialization - shows, studio recordings, rehearsals and the learning of sing in duet. Understand the musical socialization and the professionalization of singers who sing in duet as well as contributing to the area of music education can encourage other reflections on the possibilities of teaching/learning of popular sing and also about learning that occur in the experiences and livingness with “sertanejo” musical practices.