Due to considerable occupational challenges and stressors, classical musicians might face increased risk for mental health issues, compared to the general population. As such, scholars have highlighted the importance of developing psychological resilience in musicians. Nevertheless, this important psychological characteristic has remained understudied within music psychology. The present study therefore examined the relationship between mental health issues and resilience. Using a cross-sectional survey design, a total of 64 musicians (including both music students and professionals) participated in this study. Results highlight that symptoms of depression/anxiety were relatively high within the current population. Moreover, music students experienced significantly more symptoms compared to professional musicians. Both resilience and general physical health were found to be negatively associated with mental health issues. The results highlight the need for further research into mental health issues in music students and provide preliminary evidence for the importance of psychological resilience in classical musicians.
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Within a study on ‘musicians as lifelong learners’, explorative biographical research was used. When analysing the learning biographies informed by grounded theory, the emergence of profession-related health issues was striking. More than half of the portrayed musicians suffered from both physical and psychological problems, the latter mostly consisting of performance anxiety (stage fright), which was often connected to low self-esteem.However creative coping strategies were also frequently found by the musicians, showing their extensive use of metacognitive skills. This paper addresses the coping strategies found and relates it to musicians’ transformative learning.
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In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective.
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Ballet en moderne dans zijn een vorm van topsport. De druk op dansers is enorm. Lange en intensieve werkdagen, veel reizen en verschillende werkplekken maken het lastig om lichaam en geest goed te verzorgen. Hierdoor liggen blessures en mentale klachten op de loer. Nederlandse dansgezelschappen willen meer aandacht gaan besteden aan preventieve maatregelen om fysieke en mentale problemen bij hun dansers te voorkomen. Het ontbreekt hen echter aan kennis en kunde om dit innovatieve vraagstuk op te kunnen pakken. Het Nationale Ballet en het Scapino Ballet hebben het lectoraat Performing Arts Medicine van Codarts (Hogeschool voor de Kunsten Rotterdam) benaderd om antwoord te krijgen op de vraag hoe dansers op de hoogste podia, op gezonde wijze, hun beste performance kunnen laten zien. Gezamenlijk is deze praktijkvraag omgevormd naar drie onderzoeksdoelstellingen: 1. Opstellen van meetinstrumenten om de fysieke en mentale gezondheid van dansers te screenen en te monitoren; 2. Ontwerpen van een web-based systeem dat automatisch en real-time informatie uit de ontwikkelde meetinstrumenten kan inlezen, analyseren en interpreteren; 3. Ontwikkelen van een Fit to Perform protocol dat aanbevelingen geeft ten aanzien van het verbeteren van de fysieke en mentale gesteldheid van de danser. Het consortium bestaat uit de volgende organisaties: - Praktijkgerichte onderzoeksinstellingen: Codarts Rotterdam en Hogeschool van Amsterdam; - Universiteiten: ErasmusMC, Technische Universiteit Eindhoven en Vrije Universiteit Amsterdam; - Praktijkinstellingen: Het Nationale Ballet en het Scapino Ballet; - Overige instellingen: het Nederlands Paramedisch Instituut (NPi) en het Nationale Centrum Performing Arts (NCPA). Bij de samenstelling van het consortium is gekozen voor een goede mix tussen praktijkorganisaties, onderzoeksinstituten en onderwijsinstellingen. Daarnaast is er sprake van cross-sectorale samenwerking doordat kennis vanuit de podiumkunsten, sport, gezondheidszorg, onderwijs en technologie met elkaar verbonden wordt.
Since 2015, the research group Lifelong Learning in Music of Hanze University of Applied Sciences Groningen, together with the University Medical Center Groningen (UMCG), has developed and researched the MiMiC practice for patients and nurses on surgical wards. The musicians make tailor-made music in the patients' rooms in collaboration with patients and nurses. They do this on the basis of verbal and non-verbal contact with patients and nurses. Person-centred music-making turns out to be easy to realise in a medical setting and to be meaningful for all involved. People who have just had surgery experience less pain. Nurses feel more deeply involved with their patients. Musicians show sensitivity for the social context in which they carry out their artistic practice.In this project the research group is developing an innovative artistic practice with a focus on elderly patients. Musicians work with patients and the care staff that are taking care of these patients during their stay in hospital. The research should lead to insights in the effects of this practice and to a new training for master students and professional musicians who want wish to specialise themselves in this field. Pilots on six different wards of the UMCG with professional musicians and master students are part of the research which will last two years in its entirety. The project has been granted funding from the 'Banning de Jong Fonds' of the national 'Prins Bernhard Cultuurfonds' and the 'Fonds Sluyterman van Loo'.
The development of a training for musicians aspiring to work in contexts with people with dementia in the Netherlands. This project was inspired by the renowned Music for Life programme by Wigmore Hall Learning in London, UK and its in-depth ethnographic study by the research group Lifelong Learning in Music which was published as While the Music Lasts by Smilde, Page and Alheit (2012).
