Musicians not only have extraordinary motor and sensory skills, but they also have an increased ability to learn new tasks compared with non-musicians. We examined how these features are expressed in neurophysiological parameters of excitability and plasticity in the motor system by comparing the results of 11 professional musicians and 8 age-matched non-musicians. Parameters of motor excitability were assessed using transcranial magnetic stimulation (TMS) to measure motor-evoked potentials (MEPs) together with recruitment of corticospinal projections [input-output curve (IOcurve)] and of short-latency intracortical inhibition (SICIcurve). Plasticity, here defined as change of synaptic effectiveness, was tested by measuring MEPs and IOcurves after paired associative stimulation (PAS), which consists of an electric median nerve stimulus repeatedly paired (200 times at 0.25Hz) with a TMS pulse over the hand motor area. ). Additionally, PAS25 increased and PAS10 decreased the MEP amplitudes and the slope of the IOcurves significantly more in musicians than in non-musicians. This is consistent with a wider modification range of synaptic plasticity in musicians. Together with the steeper recruitment of corticospinal excitatory and intracortical inhibitory projections, this suggests that they regulate plasticity and excitability with a higher gain than normal. Because some of these changes depend on age at which instrumental playing commenced and on practice intensity, they may reflect an increase in number and modifiability of synapses within the motor area caused by long-term musical practice. Using an interstimulus interval of 25 ms (PAS25) or 10 ms (PAS10), this leads to long-term potentiation-or long-term depression-like plasticity, respectively. Musicians showed steeper recruitment of MEPs and SICI (IOcurve and SICIcurve

Much has been written about expressivity by philosophers, composers, musicologists, and psychologists, but little is known about how the musicians of tomorrow — music students — approach this subject. This paper reports an exploratory study in which 135 students from music conservatories in three countries (England, Italy, Sweden) filled out a questionnaire that addressed four themes: (a) conceptualizing expressivity, (b) expressivity in everyday practice, (c) expressivity in music teaching, and (d) novel teaching strategies. The results suggest that students define expressivity mainly in terms of communicating emotions and `playing with feeling'. Expressive skills are regarded as highly important by students, and they would like to practice more on expressivity than is currently the case. However, most students are skeptical toward using computers in teaching of expressivity since they cannot see how such applications could work. The results suggest that expressivity deserves more attention in music education than has hitherto been the case.

There is growing evidence that psychosocial interventions can have psychological benefits for people affected by cancer, including improved symptoms of mental health and wellbeing and optimised immune responses. However, despite growing numbers of music interventions, particularly singing, in cancer care, there is less research into their impact. We carried out a multicentre single-arm preliminary study to assess the impact of singing on mood, stress and immune response in three populations affected by cancer: carers (n = 72), bereaved carers (n = 66) and patients (n = 55). Participants were excluded if pregnant or if they were currently being treated with chemotherapy, radiotherapy or oral immunosuppressive drugs. Participants were regular participants in five choirs across South Wales and took part in one hour of group singing. Before and after singing, visual analogue mood scales, stress scales and saliva samples testing for cortisol, beta-endorphin, oxytocin and ten cytokines were taken. Across all five centres and in all four participant groups, singing was associated with significant reductions in negative affect and increases in positive affect (p < .01) alongside significant increases in cytokines including GM-CSF, IL17, IL2, IL4 and sIL-2rα (all p < .01). In addition, singing was associated with reductions in cortisol, beta-endorphin and oxytocin levels. This study provides preliminary evidence that singing improves mood state and modulates components of the immune system. Further work is needed to ascertain how this differs for more specific patient groups and whether repeat exposure could lead to meaningful, longitudinal effects.

Twenty-two pianists, classified into four levels of skill, were asked to learn and memorize an assigned composition by J. S. Bach (different for each level). All practice was recorded on cassette tape. At the end of the learning process, the pianists performed their composition in a recital setting. The resulting performances were evaluated by three experienced piano teachers. From the cassette tapes, values for the quantity of practice were obtained. These values were compared across all four levels of skill and examined to reveal whether they were related to quality of performance. The analyses indicate that the standard deviations of the amount of time spent in each practice session increased systematically with level of skill and that pianists at higher levels spent more time in each practice session. Quantity of practice, however, was not significantly related to quality of performance. Rather, pianists who employed longer practice segments by the middle stage of practice produced better musical, communicative and technical performances. These findings stand in defiance of the argument that quantity of practice is the fundamental determinant of the quality of performance. Instead, they suggest that the content and quality of an individual's practice must be examined when investigating the determinants of musical skill.

Focal hand dystonia (FHD) has been suggested to be a maladaptive response of the brain to repetitive performance of stereotyped and attentionally demanding hand movements. However, not all patients with FHD have a strict history of excessive hand use; for example, patients with musician's dystonia (MD) spend many hours per day with their attention focused on instrumental practice, whereas many patients with writer's cramp (WC) have a history of average hand use. The present experiments test whether seven MD and six WC patients have different pathophysiological deficits by examining the spatial pattern of sensorimotor organization in the motor cortex. Two control groups were used, eight healthy non-musicians and eight healthy musicians. The latter served to control for physiological adaptation of the brain to musical training. We used focal vibration of a single hand muscle to produce sensory input whilst the excitability of corticospinal outputs to the vibrated and other hand muscles was evaluated with transcranial magnetic stimulation. In healthy non-musicians, vibration increases the amplitude of motor-evoked potentials and decreases the short-latency intracortical inhibition (SICI) in the vibrated muscle, whilst having the opposite effect on the non-vibrated hand muscles. The pattern of sensorimotor interaction was abnormal in both patient groups. However, the nature of the deficit differed between them. While vibration had little effect on cortical excitability in WC, it strongly reduced SICI in all hand muscles irrespective of spatial organization in MD. In the healthy musicians we found an organization intermediate between that of healthy non-musicians and MD. The data are consistent with a model in which musical practice in healthy musicians leads to beneficial changes in organization of the motor cortex, but in MD these progress too far and begin to interfere with movement rather than assist it. The fact that sensory input had no effect on motor output in patients with WC suggests that sensory information from the hand may play a smaller role in provoking pathological changes in WC than in MD.

This article reports data collected from 385 performing arts professionals using the HEartS Professional Survey during the COVID-19 Lockdown 1.0 in the United Kingdom. Study 1 examined characteristics of performing arts professionals’ work and health, and investigated how these relate to standardized measures of wellbeing. Study 2 examined the effects of the lockdown on work and wellbeing in the respondents’ own words. Findings from Study 1 indicate a substantial reduction in work and income. 53% reported financial hardship, 85% reported increased anxiety, and 63% reported being lonelier than before the crisis. 61% sought support on finances while only 45% did so on health and wellbeing. Multiple regression analyses, using the Mental Health Continuum-Short Form, Center for Epidemiologic Studies Depression Scale, Social Connectedness Scale, and Three-Item Loneliness Scale as outcome variables, indicate that perceived financial hardship was associated with lower wellbeing and higher depression and loneliness scores. Higher self-rated health was associated with higher wellbeing and lower depression scores. More physical activity before lockdown was associated with higher wellbeing and social connectedness scores, as well as lower loneliness scores, and an increase in physical activity during lockdown compared with before, as well as older age, were associated with higher wellbeing and social connectedness scores, and lower depression and loneliness scores. Thematic inductive analysis of 341 open responses in Study 2 identified five overarching themes characterizing the effects of Lockdown 1.0: lost or uncertain work and income, including canceled work, financial concerns, and uncertainties for the future; constraints of lockdown working, including challenges of working at home, struggles with online work and skill maintenance, and caring responsibilities; loss and vulnerability, including reduced social connections, lack of support, vulnerability, feelings of loss and grief, and concern for others; detrimental effects on health and wellbeing, including anxiety, low or unstable mood, poorer physical health, and lack of motivation; and professional and personal opportunities, including coping well or living more healthily, more time and less pressure, new possibilities and activities, enhanced social connections, and new skills. Lockdown 1.0 had profound effects on performing arts professionals, but our findings reveal some opportunities and compelling links between positive wellbeing and physical activity.

Much applied research into musical performance requires a method of quantifying differences and changes between performances; for this purpose, researchers have commonly used performance assessment schemes taken from educational contexts. This article considers some conceptual and practical problems with using judgments of performance quality as a research tool. To illustrate some of these, data are reported from a study in which three experienced evaluators watched performances given by students at the Royal College of Music, London, and assessed them according to a marking scheme based on that of the Associated Board of the Royal Schools of Music. Correlations between evaluators were only moderate, and some evidence of bias according to the evaluators' own instrumental experience was found. Strong positive correlations were found between items on the assessment scheme, indicating an extremely limited range of discrimination between categories. Implications for the use of similar assessment systems as dependent measures in empirical work are discussed, and suggestions are made for developing scales with greater utility in such work.

This paper examines the development and implementation of general social and specific non-verbal communication between two expert pianists who prepared and gave a redtal of piano duo and duet music. All ensemble rehearsals and the final performance were video-taped. Following the performance, the musidans were interviewed in order to document their thoughts on the learning and performance processes. From the Video-taped rehearsals and performance, data concerning musical coordination, socialinteraction, non-verbal gesturesand looking behaviour were coded and counted. The results show that these excellent sight-readers used rehearsals to consolidate the timing, phrasing and sense of musical style. Moreover, an emergent set of coordinated, non-verbal gestures and eye-contact developed, with these actions increasing significantly over the rehearsal process at locations in the music identified by the pianists as "important for coordinating performance and communicating musical ideas". Thus, the two performers acquired a deepening expressive and communicative assurance along with a familiarisation with the musical material. The findings are discussed in relation to their implications for musical performance by highlighting the elements of coperformer interaction that were negotiated and coordinated throughout the rehearsal process.