Professional musicians listen differently to music

INTRODUCTION: Experience-based adaptation of emotional responses is an important faculty for cognitive and emotional functioning. Professional musicians represent an ideal model in which to elicit experience-driven changes in the emotional processing domain. The changes of the central representation of emotional arousal due to musical expertise are still largely unknown. The aim of the present study was to investigate the electroencephalogram (EEG) correlates of experience-driven changes in the domain of emotional arousal. Therefore, the differences in perceived (subjective arousal via ratings) and physiologically measured (EEG) arousal between amateur and professional musicians were examined. PROCEDURE: A total of 15 professional and 19 amateur musicians listened to the first movement of Ludwig van Beethoven's 5th symphony (duration=∼7.4min), during which a continuous 76-channel EEG was recorded. In a second session, the participants evaluated their emotional arousal during listening. In a tonic analysis, we examined the average EEG data over the time course of the music piece. For a phasic analysis, a fast Fourier transform was performed and covariance maps of spectral power were computed in association with the subjective arousal ratings. RESULTS: The subjective arousal ratings of the professional musicians were more consistent than those of the amateur musicians. In the tonic EEG analysis, a mid-frontal theta activity was observed in the professionals. In the phasic EEG, the professionals exhibited an increase of posterior alpha, central delta, and beta rhythm during high arousal. DISCUSSION: Professionals exhibited different and/or more intense patterns of emotional activation when they listened to the music. The results of the present study underscore the impact of music experience on emotional reactions.

A Multingual Web-based Educational System for Professional Musicians

This paper presents the main results of the eContent HARMOS project. The project has developed a webbased educational system for professional musicians. The main idea of the project consists of recording master classes taught by highly recognised maestros and annotate this multimedia material using an educational musical taxonomy and automatic annotation tools. Users of the system access a multi-criteria search engine that allows them to find and play video segments according to a combination of criteria, which include instrument, teacher, composer, composition, movement and pedagogical concept. In order to preserve teachers and students rights, a DRM and protection system has been developed. The system is being publicly exploited. This model preserves musical heritage, since these valuable master classes are usually not recorded and it also provides a sustainable model for musical institutions.

Audiological and electrophysiological assessment of professional pop/rock musicians

In the present study, we evaluated peripheral and central auditory pathways in professional musicians (with and without hearing loss) compared to non-musicians. The goal was to verify if music exposure could affect auditory pathways as a whole. This is a prospective study that compared the results obtained between three groups (musicians with and without hearing loss and non-musicians). Thirty-two male individuals participated and they were assessed by: Immittance measurements, pure-tone air conduction thresholds at all frequencies from 0.25 to 20 kHz, Transient Evoked Otoacoustic Emissions, Auditory Brainstem Response (ABR), and Cognitive Potential. The musicians showed worse hearing thresholds in both conventional and high frequency audiometry when compared to the non-musicians; the mean amplitude of Transient Evoked Otoacoustic Emissions was smaller in the musicians group, but the mean latencies of Auditory Brainstem Response and Cognitive Potential were diminished in the musicians when compared to the non-musicians. Our findings suggest that the population of musicians is at risk for developing music-induced hearing loss. However, the electrophysiological evaluation showed that latency waves of ABR and P300 were diminished in musicians, which may suggest that the auditory training to which these musicians are exposed acts as a facilitator of the acoustic signal transmission to the cortex.

Feeling Better, Performing Better? Holistically-Oriented Top Performance and Well-Being (HOPE) : Performance Enhancement and Its Perceived Impacts on Musicians

Most musicians choose a career in music based on their love of the art and a desire to share it with others. However, being a performing musician is highly demanding. Despite considerable evidence of the great frequency of performance-related problems (e.g. debilitating performance anxiety) among professional musicians or aspiring musicians in the current Western classical music tradition these problems are seldom discussed openly. The existing system offers musicians very little help in learning how to build sustainable performance success into their musical career. This study it is first of its kind in Finland which addresses the issue on larger scale in a systematic way. I devised the HOPE intervention (Holistically-Oriented Top Performance and Well-Being Enhancement), in order to learn how to integrate professional peak performance and a sense of personal well-being into the lives and careers of musicians. Unlike most interventions in previous research, the HOPE intervention is explicitly holistic and aims at enhancing the whole musician, not just alleviating performance anxiety. Earlier research has not in principle focused on musicians´ psychological well-being or on their subjective perceptions. The main purpose of the study is to understand the perceived impacts of the specially devised HOPE intervention on the participants and particularly in four key areas: performing, playing or singing well-being, and overall (performing, playing or singing and well-being combined). Furthermore, it is hoped that a deeper understanding of performers´ development will be gained. The research method is interdisciplinary and mainly qualitative. The primary data consist of a series of linked questionnaires (before and after the intervention) and semi-structured follow-up interviews collected during action research-oriented HOPE intervention courses for music majors in the Sibelius Academy. With the longitudinal group called Hope 1, the core data were collected during a nine month HOPE intervention course and from follow-up interviews conducted six months later in 2003-2004. The core data of Hope 1 (nine participants) are compared with the perceived impacts on fifty-three other participants in the HOPE courses during the period since their inception, 2001-2006. The focus is particularly on participants´ subjective perceptions. Results of the study suggest that the HOPE intervention is beneficial in enhancing overall performance capacity, including music performance, and a personal sense of well-being in a music university setting. The findings indicate that within all key areas significant positive changes take place between the beginning and the end of a HOPE intervention course. The longitudinal data imply that the perceived positive changes are still ongoing six months after the HOPE intervention course is finished. The biggest change takes place within the area of performing and the smallest, in participants´ perception of their playing or singing. The main impacts include reduced feelings of stress and anxiety (an enhanced sense of well-being) as well as increased sense of direction and control in one's life. Since the results of the present research gave no other reason to believe otherwise, it is to be expected that the HOPE intervention and the results of the study can be exploited in other areas of human activity as well, especially where continuous professional top performance is a prerequisite such as in business or sports. Keywords: performance enhancement, professional top performance, subjective well-being, subjective perceptions, holism, coaching, music performance anxiety, studying music, music.

Indie 100 2013

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists.

Indie 100 2014

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists.

100 Songs Project 2012

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists.

100 Songs Project 2011

The Independent Music Project is centred around the development and creation of new music, and includes research into copyright, business models of the future, new technologies, and new audiences. The music industry is undergoing the most radical changes it has faced in almost a century. New digital technologies have made the production, distribution, and promotion of recorded music accessible to anyone with a personal computer. People can now make high-quality digital copies of music and distribute them globally within minutes. Even bastions of the established industries, such as EMI and Columbia, are struggling to make sense of the new industry terrain. The whole employment picture has changed just as radically for people who wish to make a living from music. In Australia, many of the avenues that provided employment for musicians have either disappeared or dramatically shrunk. The advertising industry no longer provides the level of employment it used to prior to the Federal deregulation of the industry in 1992. In many places, new legislative pressures on inner-city and suburban venues have diminished the number of performance spaces that musicians can work in. Just as quickly, new sectors have opened to professional musicians: computer games, ringtones, sound-enabled toys and web advertising all present new opportunities to the enterprising musician. The opportunity to distribute music internationally without being signed to a major label is very attractive to many aspiring and established professionals. No doubt the music industry will face many more challenges as technologies continue to change, as global communication gets easier and faster, and as the challenges to copyright proliferate and change. These challenges cannot be successfully met on a single front. They require research and expertise from all sectors being affected, and this is why the independent music project (IMP) exists.

Sensory auditory processing and intuitive sound detection : an investigation of musical experts and nonexperts

The auditory system can detect occasional changes (deviants) in acoustic regularities without the need for subjects to focus their attention on the sound material. Deviant detection is reflected in the elicitation of the mismatch negativity component (MMN) of the event-related potentials. In the studies presented in this thesis, the MMN is used to investigate the auditory abilities for detecting similarities and regularities in sound streams. To investigate the limits of these processes, professional musicians have been tested in some of the studies. The results show that auditory grouping is already more advanced in musicians than in nonmusicians and that the auditory system of musicians can, unlike that of nonmusicians, detect a numerical regularity of always four tones in a series. These results suggest that sensory auditory processing in musicians is not only a fine tuning of universal abilities, but is also qualitatively more advanced than in nonmusicians. In addition, the relationship between the auditory change-detection function and perception is examined. It is shown that, contrary to the generally accepted view, MMN elicitation does not necessarily correlate with perception. The outcome of the auditory change-detection function can be implicit and the implicit knowledge of the sound structure can, after training, be utilized for behaviorally correct intuitive sound detection. These results illustrate the automatic character of the sensory change detection function.

Luova mieli : lähikuvassa muusikoiden luomisprosessit

This work studied the creative process of musicians. The subject was chosen partly due to the attention given to creativity in social discussion. The approach was material-based, because during the work it became clear that the theoretical models describing the creative process in general did not provide adequate tools for the examination of musical creation. In this study, the creative process was defined as a process, which generated a work found by the musician novel to him or her. There were two principal research questions: 1) How does the creative process of musicians progress? 2) What makes a process creative? The main emphasis was on the first question, because the study aimed at modeling the creative process of musicians. The material for this study was collected by interviewing five professional musicians, each qualified by an expert of music to be creative. The interviews were thematically linked with each musician’s recently implemented creative process. The work generated in the process was used as a stimulant in the interview. The main themes of the interview dealt with the musician’s concrete action, cognitive functioning and affective experience during the process. Secondary themes included his or her goals as well as the factors that enhanced or inhibited the process. A material-based analysis was made of the interviews. The conceptualization and modelling of the creative process was founded on a phenomenological-hermeneutic interpretation. In addition to the primary interviews, also supplementary interviews were made in order to ensure that the description of the musician was understood correctly. Further supplementary interviews were made when the material was analyzed and results were deduced. This aimed at increasing the reliability of interpretations and conclusions. The study resulted in a four-level model representing the progress of a creative process. The levels were defined by means of the conception of state. The levels used in defining the process were 1) the state determining the potential of the process, 2) the state delimiting the process, 3) the state orienting the process, and 4) the state determined by the process. The progress of the process was described as changes taking place in the state. It was discovered that the factors having an effect on the creativity of the process were the dynamism of the process, the musician’s work in relation to his or her inner standard and the impulses that caused variation in the musician’s thinking. The interview method used in this study proved to be a very suitable tool in an examination of a creative process. Thus it may well be applicable in other research contexts associated with creative processes. The outcome of this study, the model of the progress of a creative process, should also provide a feasible basis for the examination of different kinds of creative processes. It enables a comprehensive examination of a creative process, simultaneously justifying the dynamic nature of the process.

Musiikkioppilaitokset harrastajaksi kasvamisen näyttämönä

The Finnish instrumental education system is said to be one of the bests in the world. Finnish musicians have become famous and they have gained success all over the world. To produce professional musicians has been the main goal of the whole Finnish instrumental education system for a long time. This has meant that playing an instrument as a hobby has been neglected. The focus of this qualitative study is the culture of instrumental education from the view of amateuring. One of the goals is to describe the Finnish context where music lovers grow up and where they construct their identities. The other aim is to give answers to the question “How can we develop the culture of instrumental education to serve also the needs of amateurs?” The data of this study is narrative. It consists of the stories of five amateurs, who were in their thirties. In the analysis I’ve used two different types of analysis: the analysis of narratives and the content analysis. In the analysis of narratives the stories were seen as narrative identities. Because the main focus of this study is the culture of instrumental education, I used the qualitative content analysis to find out some themes or phenomena which should be improved from the view of amateuring. This study has shown that there are many ways to become a music lover. An essential factor in the construction of an identity of a music lover seems to be a society which values the amateuring. In this study music schools weren’t that kind of societies. The present study reveals that to construct the identities of music lovers should be one of the most important aims of the music education. This means for example that, in practice, instrumental studies could be more activating, there should be more music making in groups, and the evaluation should concentrate on the whole learning process.

A experiência barroca e a identidade local na Semana Santa de Campanha, Minas Gerais

Este trabalho analisa a formação de uma sensibilidade barroca em Minas Gerais a partir da orientação participativa e altamente emotiva das festas coloniais, cujo legado se mantem presente nas festas religiosas de muitas antigas cidades mineradoras do estado. Enfocando as celebrações da Semana Santa na cidade sul-mineira de Campanha, o texto mostra como este evento anual era organizado pela Irmandade do Santíssimo Sacramento, passando então às mãos de uma comissão local após a extinção da irmandade. Se até meados do século XIX, havia músicos semi-profissionais contratados para tocar e cantar nas celebrações, a música foi assumida progressivamente por grupos de amadores. Assim, a festa passou a ser entendida como uma produção local e a cada ano a população renova o seu orgulho campanhense, ao contemplar sua capacidade de produzir um evento tão ‘maravilhoso’.

This paper analyses the formation of a baroque sensibility in the State of Minas Gerais (Brazil) that derives from the participatory and highly emotive orientation of the colonial festivals, the legacy of which is still present in many former mining towns in the region. By focusing upon the Holy Week celebrations in Campanha, a small town in southern Minas Gerais, the text shows how this annual event was organized by the Confraternity of the Holy Sacrament, but was then transferred to a local committee after the confraternity was made extinct. If up to the mid 19th century there were semi-professional musicians to perform for the celebrations, responsibility for the music was slowly taken over by amateur groups. In this way the festival came to be understood as a local affair, and each year the population renews its pride in itself for its capacity to stage such a ‘marvelous’ event.

Jazz in Athens: Frustrated Cosmopolitans in a Music Subculture

This paper presents an ethnographic account of jazz music in Athens. The small scene under scrutiny is mainly populated by professional session instrumentalists of the Greek popular music scene who perform jazz as a side activity for their own pleasure. In the process, they construct a conceptual dichotomy between ‘work’ and ‘play’. Drawing on the author’s extended involvement in this scene, and focusing on private interviews with musicians, this article unveils the discourses of cosmopolitanism invoked through local jazz music making. The ethnographic material presented aims to illustrate how even a small subculture can serve as a terrain for contesting cosmopolitan imaginaries.