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1
Content available remote Cecilská jednota a Antonín Dvořák
100%
Vídenová M.
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nr 3-4
321-334
XX
Whilst studying at the Organ School, Antonín Dvořák was also playing viola for the Cecilia Society, an important musical organisation in Prague. So far, musicologists have paid relatively little attention to this area of the composer’s activity as a performer. The Cecilia Society played a part in the emergence of the newly developing phenomenon of public concerts, and it was one of the first societies in this country that was oriented towards the performance of larger-scale works for choir, choir and orchestra, and orchestra alone. Primarily on the basis of source material on the matter in question that has not yet been studied or, in some cases, that was previously unknown, the study provides an overview of the development, organisational structure, and membership base of the Cecilia Society with an emphasis on the period when Dvořák was active in the organisation.
2
Content available Waiting for the Concert. Pre-Performance Emotions and the Performance Success of Teenage Music School Students
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Kaleńska-Rodzaj J.
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nr 3
322-331
EN
The major aim of the research is to analyse the type and complexity of emotions which adolescent musicians experience before giving a solo music performance. Another aim is to explore the function of these emotions for performance quality. Just before a school concert, students filled out The UWIST Mood Adjective Checklist (UMACL). Right after the performance, both the performing students and competent referees used The Performance Evaluation Scale. The results show that musicians’ pre-performance emotional state is dominated by ambivalent emotions of hope and sadness, as well as joy and anxiety. As a result of a cluster analysis, six clusters were obtained which defined emotional states before the performance: high music performance anxiety, moderate music performance anxiety, calm, mixed emotions, joy with background fatigue, and excitement. The findings show the functional significance of positive emotions and mixed emotions for performance quality.
3
Content available remote Premiéra Sukova Zrání a Nejedlého kritika Sukova díla a osobnosti
100%
Charypar J.
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nr 3-4
367-389
XX
This study concerns the premiere of the symphonic poem Zrání (Ripening) by Josef Suk, Zdeněk Nejedlý’s opinions about Suk, and the so-called “Suk affair”, stirred up when Nejedlý accused Suk of having accepted an Austrian medal. The first chapter tells of the premiere of Zrání and the reactions to it including Nejedlý’s negative reviews. A separate chapter deals with Nejedlý’s opinions about Suk’s music and about the historical background of those opinions. There is also discussion of the personal relationship between Nejedlý and Suk. Special attention is devoted to how the so-called “Suk affair” has been viewed by scholars since Suk’s death up until the present.
4
Content available DIFFERENT PATTERN OF AUDITORY PROCESSING LATERALIZATION IN MUSICIANS AND NON-MUSICIANS
88%
Krzyżak A.
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tom 19(1)
105-119
EN
The aim of the study was an evaluation of different pattern of auditory processing lateralization in musicians and non-musicians. 41 people aged 20-46 participated in the experiment, from which two research groups were selected: musicians ‒ instrumentalists professionally active (N: 21) and non-musicians (N: 20). All of them were right-handed. The dichotic listening test (Kurkowski 2007) was used to assess the laterality of external stimuli. The examination showed the superiority of right-ear perception or binaural speech processing. In the study of non-focused attention, musicians achieved a similar rate of correct responses for the left and right ear, which indicates binaural processing, where they gave more correct responses for the left ear and fewer correct responses for the right ear than non-musicians. The difference between the groups is statistically significant. In the study focused on the right ear, both groups obtained similar high scores. In the left-ear study the musicians gave more correct responses from the perception of stimuli to the left ear than non-musicians. This research confirmed different pattern of auditory processing lateralization in musicians and non-musicians. ------------------------------------------------------------------------------------------------------------------------------------
5
Content available Waiting for the Concert. Pre-Performance Emotions and the Performance Success of Teenage Music School Students
88%
Kaleńska-Rodzaj J.
Polish Psychological Bulletin
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2018
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tom 49
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nr 3
6
Content available Effect of Musician’s Earplugs on Sound Level and Spectrum During Musical Performances
88%
Kozłowski E. , Żera J. , Młyński R.
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2011
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tom Vol. 17, No. 3
249--254
EN
In this study, change in A-weighted and 1/3-octave sound pressure levels (SPLs) was used to assess the influence of wearing earplugs by musicians on their musical performances. Seven soloists and 3 music assembles performed 4 pieces of music with musician’s earplugs donned and doffed. They used silicon custom moulded earplugs with acoustic filters designed to attenuate sound by 9, 15 or 25 dB. Results showed that the use of earplugs affected the sound level and the spectrum of played sounds. This effect was the greatest for brass players. The difference between SPLs in high-frequency 1/3-octave bands and A-weighted SPLs with and without earplugs exceeded 5 and 15 dB, respectively. Similar changes for woodwind, percussion and string instruments were less noticeable than for brass instruments; they were more than 5 dB for 1/3-octave spectra and no more than 2 dB for A-weighted SPL.
7
Content available Attachment quality is associated with music performance anxiety in professional musicians: an exploratory narrative study
88%
Kenny D. T. , Holmes J.
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nr 3
283-298
EN
This paper investigates attachment themes in the life history narratives of professional orchestral musicians and their relationship with music performance anxiety (MPA). Narrative accounts derived from open-ended in-depth interviews of ten professional musicians were analysed from an attachment perspective using content and thematic analysis. We hypothesized that the performance setting re-triggers unprocessed feelings related to early attachment experiences, especially when traumatic, and that defensive manoeuvres against their re-emergence into consciousness are activated. The interviews identified early relational trauma as a relevant etiological factor in the MPA-symptomatic of the musicians studied. A case is made for the addition of an attachment-informed life-course model rather than a purely symptomatic approach to understanding and treating severe MPA and other intra-personal psychodynamics of performing musicians.
8
Content available remote Normy a konflikty. Předbělohorští hudebníci ve světle právních pramenů
75%
Matyášová J.
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tom 28
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nr 1
29-57
EN
The essay based on juridical sources is concerned with classification of musicians on the lowest and middle levels – it compares the municipal environment with musicians travelling through the Kingdom of Bohemia, who usually lacked the honour, i.e. the full rights. The pitch books captured a large number of offences committed by musicians with the right, thus enabling us a closer look at the share of these artists on the contemporary criminality. The criminal norms, however, were not the only norms that were violated – the standard music operation was clearly documented in instructions issued in the 16th and 17the century for municipal as well as private music ensembles.
9
Content available remote The relationship between study addiction and examination stress among students of music academies
75%
Atroszko P. A. , Wróbel W. K. , Bereznowski P. , Lawendowski R.
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nr 2
177-192
EN
Previous studies have shown that study addiction is related to worse academic performance among music academy students as well as in the general population of students, suggesting that excessive examination stress may impair their performance on exams. The aim of this study was to investigate the relationship between the newly developed concept of “study addiction” and examination stress among students of music academies. Study addiction has been defined within the framework of theory and research on work addiction as a potential behavioral addiction. A cross-sectional correlational study was conducted, with a sample of 132 students of music academies in Poland. The Bergen Study Addiction Scale, assessing seven core addiction symptoms related to studying, was administered together with a commonly used measure of personality and single-item measures of examination stress and learning engagement. Multiple hierarchical regression analysis showed that study addiction was related to higher examination stress above and beyond personality traits. What is more, while study addiction showed a positive relationship with examination stress, learning engagement showed a negative association with examination stress. The results suggest that, among music academies students, study addiction is related to higher stress during exams and that study addiction and learning engagement are different constructs. Taking into account the relationship of study addiction with higher stress in situations of being evaluated, future studies are warranted that would link study addiction to music performance anxiety, which is one of the most widely studied phenomena in the psychology of music.
10
Content available Hearing damage caused by noise in classical musicians
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Zbysińska M. , Lachowska M.
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tom 9(2)
41-53
EN
In this paper, we discuss the issue of hearing damage caused by noise in classical musicians. Long-term exposure to highintensity sounds leads to degenerative changes at the level of the cochlea and then in the higher parts of the auditory canal. This is particularly unfavorable for musicians because an efficient hearing organ is necessary for them to perform their daily work. The risk of hearing damage depends on noise parameters and intrinsic factors referred to as individual noise sensitivity. Not all musicians are exposed to sounds that exceed the acceptable level. However, most of them work at noise levels that are close to or above the acceptable safety limit, thus posing a health threat. In addition to hearing threshold elevation, tinnitus, hyperacusis, and diplacusis may result following many years of exposure to high-intensity acoustic stimuli. Although the differences between the hearing thresholds for instrumentalists and members of the unexposed population are not large, researchers emphasize the need to recognize musicians as a risk group and to apply appropriate prevention. One of the methods to prevent hearing damage is to use ear protectors, which, although effectively reduce exposure, are not widely used by instrumentalists as they impede auditory control over the sounds produced by the instrument. In addition, multifaceted prevention programs and various techniques to minimize exposure are used, such as the proper placement of loud instruments in an orchestra.
11
Content available Hearing Ability in Orchestral Musicians
75%
Pawlaczyk-Łuszczyńska M. , Dudarewicz A. , Zamojska M. , Śliwińska-Kowalska M.
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12
Content available Attachment quality is associated with music performance anxiety in professional musicians: an exploratory narrative study
75%
Kenny D. T. , Holmes J.
Polish Psychological Bulletin
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2018
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tom 49
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nr 3
13
Content available Wpływ muzyki na zapamiętywanie u osób z doświadczeniem muzycznym
63%
Pius K. , Miętus N. , Olchowik A. , Parkitna I.
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nr 5
338-344
PL
Artykuł zawiera przedstawienie, a także analizę przeprowadzonego badania, które dotyczyło zapamiętywania oraz odtwarzania materiału neutralnego podczas słuchania muzyki. Przebadano 87 studentów Uniwersytetu Muzycznego im. Fryderyka Chopina w Warszawie. Uzyskane wyniki wskazują, że badani, słuchający muzyki na etapie zapamiętywania informacji zapamiętują średnio o jedną figurę więcej niż badani, którzy na tym etapie słuchali neutralnego szumu. Nie wykryto istotnych różnic pomiędzy grupami, jeśli chodzi o czas i ilość figur odtworzonych w prawidłowej kolejności. Na badaną efektywność nauki nie miały również istotnego wpływu takie zmienne jak: doświadczenie i preferencje muzyczne oraz styl nauki.
EN
This article presents and analyzes research concerning the memorizing and recalling of neutral material while listening to music. 87 students of The Fryderyk Chopin University of Music in Warsaw were questioned. The results obtained indicate that subjects who listen to music while memorizing information on average memorize one item more than subjects who listen to a neutral noise at the same stage. No significant differences were observed between both groups concerning the time of performance and correctness of the order of recalled items. Neither was efficiency of learning was influenced by such variables as musical experience and preferences, or style of learning.
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