With over 560 citations reported on Google Scholar by April 2018, a publication by Juslin and Gabrielsson (1996) presented evidence supporting performers' abilities to communicate, with high accuracy, their intended emotional expressions in music to listeners. Though there have been related studies published on this topic, there has yet to be a direct replication of this paper. A replication is warranted given the paper's influence in the field and the implications of its results. The present experiment joins the recent replication effort by producing a five-lab replication using the original methodology. Expressive performances of seven emotions (e.g., happy, sad, angry, etc.) by professional musicians were recorded using the same three melodies from the original study. Participants (N = 319) were presented with recordings and rated how well each emotion matched the emotional quality using a 0-10 scale. The same instruments from the original study (i.e., violin, voice, and flute) were used, with the addition of piano. In an effort to increase the accessibility of the experiment and allow for a more ecologically-valid environment, the recordings were presented using an internet-based survey platform. As an extension to the original study, this experiment investigated how musicality, emotional intelligence, and emotional contagion might explain individual differences in the decoding process. Results found overall high decoding accuracy (57%) when using emotion ratings aggregated for the sample of participants, similar to the method of analysis from the original study. However, when decoding accuracy was scored for each participant individually the average accuracy was much lower (31%). Unlike in the original study, the voice was found to be the most expressive instrument. Generalized Linear Mixed Effects Regression modelling revealed that musical training and emotional engagement with music positively influences emotion decoding accuracy.

BackgroundHearing disorders have been associated with occupational exposure to music. Musicians may benefit from non-amplified and low-intensity music, but may also have high risks of music-induced hearing loss.AimsTo compare the incidence of hearing loss (HL) and its subentities in professional musicians with that in the general population.MethodsWe performed a historical cohort study among insurants between 19 and 66 years who were employed subject to social insurance contributions. The study was conducted with data from three German statutory health insurance providers covering the years 2004–2008 with about 7 million insurants. Incidence rates with 95% CIs of HL and the subentities noise-induced hearing loss (NIHL), conductive HL, sensorineural HL, conductive and sensorineural HL, as well as tinnitus were estimated stratified by age, sex and federal state. A Cox regression analysis was conducted to estimate adjusted HRs and two-sided 95% CIs for HL and its subentities.ResultsMore than 3 million insurants were eligible, of whom 2227 were identified as professional musicians (0.07%). During the 4-year observation period, 283 697cases of HL were seen, 238 of them among professional musicians (0.08%), leading to an unadjusted incidence rate ratio of 1.27. The adjusted hazard ratio of musicians was 1.45 (95% CI 1.28 to 1.65) for HL and 3.61 (95% CI 1.81 to 7.20) for NIHL.ConclusionsProfessional musicians have a high risk of contracting hearing disorders. Use of already available prevention measures should reduce the incidence of HL in professional musicians.

Let us be Clear. On the Analysis of the Concept of 'Music Culture' Eva Fink "Musik gehört natürlich dazu." Musikermuseen als außerschulische Lernorte im interdisziplinären Spannungsfeld zwischen Museums-und Musikpädagogik .

Zusammenfassung. Dargestellt wird eine kontrollierte explorative Pilotstudie mit acht Patienten einer psychiatrischen Tagesklinik zur Erkennung von grundlegenden Gefühlsqualitäten (u.a. Freude, Trauer, Ärger) in Mimik und Musik 1 Wir danken dem Psychiatrischen Zentrum Nordbaden (PZN) für die Unterstützung bei der Durchführung dieser Pilotstudie. . Die Studie untersucht, ob sich Unterschiede in der Erkennungsleistung zwischen mimisch und musikalisch dargestellten Emotionen ergeben und ob die Emotionserkennung zwischen psychiatrischen Patienten und gesunden Probanden differiert. Die Messung der mimischen Emotionserkennung wurde mit dem computer-gestützten FEEL-Test 2 Wir danken Professor Dr. H. C. Traue für die freundliche Genehmigung zur Verwendung des FEEL-Tests. erhoben, während für die musikalische Erkennung von Gefühlsqualitäten in Anlehnung an den FEEL-Test ein neuer Test entwickelt wurde. Beide Testinstrumente werden vorgestellt sowie erste Ergebnisse diskutiert.

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