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Bronwen J. Ackermann - One of the best experts on this subject based on the ideXlab platform.
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is playing in the pit really the pits pain strength music performance anxiety and workplace satisfaction in professional musicians in stage pit and combined stage pit Orchestras
Medical Problems of Performing Artists, 2016Co-Authors: Dianna T Kenny, Tim Driscoll, Bronwen J. AckermannAbstract:INTRODUCTION: Typically, Australian orchestral musicians perform on stage, in an orchestra pit, or in a combination of both workplaces. This study explored a range of physical and mental health indicators in musicians who played in these different orchestra types to ascertain whether orchestra environment was a risk factor affecting musician wellbeing. METHODS: Participants comprised 380 full-time orchestral musicians from the eight major state Orchestras in Australia comprised of two dedicated pit Orchestras, three stage-only symphonic Orchestras, and three mixed stage/pit Orchestras. Participants completed a physical assessment and a range of self-report measures assessing performance-related musculoskeletal disorders (PRMD), physical characteristics including strength and perceived exertion, and psychological health, including music performance anxiety (MPA), workplace satisfaction, and bullying. RESULTS: Physical characteristics and performance-related musculoskeletal profiles were similar for most factors on the detailed survey completed by orchestra members. The exceptions were that pit musicians demonstrated greater shoulder and elbow strength, while mixed-workload orchestra musicians had greater flexibility Significantly more exertion was reported by pit musicians when rehearsing and performing. Stage/pit musicians reported less physical exertion when performing in the pit compared with performing on stage. Severity of MPA was significantly greater in pit musicians than mixed orchestra musicians. Pit musicians also reported more frequent bullying and lower job satisfaction compared with stage musicians. DISCUSSION: There were few differences in the objective physical measures between musicians in the different orchestra types. However, pit musicians appear more psychologically vulnerable and less satisfied with their work than musicians from the other two orchestra types. The physical and psychological characteristics of musicians who perform in different orchestra types have not been adequately theorized or studied. We offer some preliminary thoughts that may account for the observed differences.
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injury and the orchestral environment part ii organisational culture behavioural norms and attitudes to injury
Medical Problems of Performing Artists, 2014Co-Authors: Dale Rickert, Margaret S Barrett, Bronwen J. AckermannAbstract:The organisational culture, behavioural norms, and attitudes of a workplace have a profound influence on levels of injury and illness amongst its workers. While this is well established in Work Health and Safety literature, very little research has attempted to understand the influence of organisational culture on injury risk in the orchestral profession. To address this, the current study aimed to investigate the influence of organisational culture on injury outcomes for orchestral musicians. Using a qualitative case study methodology, in-depth semi-structured interviews were undertaken with 10 professional orchestral cellists (2 freelance and 8 fulltime members) from a single Australian orchestra. After initial data analysis, further interviews were undertaken with a set of 5 orchestral management staff as a means of data triangulation. All data were analysed using a themes-based "analysis of narrative" approach. The findings indicate that an orchestral culture exists in which musicians see injury as a sign of weakness, failure, and poor musicianship. Such negative perceptions of injury influence musicians to play through considerable levels of pain and continue performing with injuries. Because of perceived judgment from the orchestral group, musicians were found to conceal injuries from colleagues and management staff. Freelance musicians felt that disclosing injuries may lead to decreased work opportunities, and both full-time and casual musicians felt that "opening up" about injury may subject them to group judgment about their technique or musicianship. The study suggests education measures which may be effective at influencing individual behaviours and attitudes as well as cultural change initiatives which could lead to long-term positive health outcomes in the orchestral workplace.
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hearing and hearing conservation practices among australia s professional orchestral musicians
Noise & Health, 2014Co-Authors: Ian Obrien, Bronwen J. Ackermann, Tim DriscollAbstract:Orchestral musicians are an at-risk population for noise-induced hearing loss. Following strategic approaches to mitigate exposure, many must use earplugs to safeguard their hearing, although reported usage rates are poor. Australia has progressive hearing conservation programs within many of its Orchestras, yet little is known of earplug usage rates, abilities with earplugs or self-perceived hearing loss in this population. To help direct and inform future approaches to hearing conservation in Australia's Orchestras a questionnaire assessing hearing conservation behaviors and the prevalence of self-perceived hearing loss was distributed. A total of 580 musicians across eight professional Orchestras were surveyed, with 367 completed surveys (63%) returned. Eighty percent of respondents reported a risk of hearing damage in the orchestra, 64% used earplugs of some type at least some of the time and 83% found this use difficult/impossible. Forty-three percent reported a hearing loss, including 54% in pit Orchestras and 46% of those ≤50 years of age. Brass players were least likely to use earplugs, most likely to report usage difficulties and most likely of those ≤50 years of age to report a hearing loss. While earplug usage rates in Australia are encouraging and may be linked to hearing conservation measures in the Orchestras, the widespread difficulty reported with the use of these earplugs, the prevalence of self-reported hearing loss and the continued vulnerability of those most at-risk indicate improvements in both earplug design and further education for musicians are required to progress hearing conservation options for this population.
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injury and the orchestral environment part i the role of work organisation and psychosocial factors in injury risk
Medical Problems of Performing Artists, 2013Co-Authors: Dale Rickert, Margaret S Barrett, Bronwen J. AckermannAbstract:That orchestral musicians are exposed to a high risk of playing-related injury is well established, but despite this, little is known about how work organisation and psychosocial factors may contribute to this risk. Lack of research in this area is surprising considering the importance of these factors in managing occupational health risks in a wide range of other working populations. To address this, we conducted a qualitative study with the following aims: to investigate orchestral musicians' and managers' perceptions of those workplace environmental factors that contribute to injury, and to investigate the potential influence of work organisation and psychosocial factors on injury risk for orchestral musicians. Using a qualitative case-study methodology, in-depth, semistructured interviews were undertaken with 10 professional orchestral cellists (2 casual and 8 full-time members) from a single Australian orchestra. After initial data analysis, further interviews were undertaken with a set of 5 orchestral management staff as a means of data triangulation. All data were analysed using a "themes-based" analysis of narrative approach. The findings indicate that musicians perceive that stress in the orchestral environment increases injury risk. The perceived stressors were divided into two broad categories: psychosocial injury risks, which included performance stress and interpersonal relationships, and combined psychosocial/physical injury risks such as work organisation and lack of control. This article evaluates the findings in terms of existing literature and makes recommendations for better management of environmental injury risk for orchestral musicians.
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Hearing Conservation and Noise Management Practices in Professional Orchestras
Journal of occupational and environmental hygiene, 2012Co-Authors: Ian O'brien, Tim Driscoll, Bronwen J. AckermannAbstract:Hearing conservation and noise exposure management for professional Orchestras is a difficult issue resistant to standard control measures as used in other industries with excessive noise problems. Although there has been a great deal of research into this area in terms of the audiological status of musicians and their exposure to noise, there are relatively few industry-specific strategies that can be adopted by an orchestra looking to address these issues. Australia does not have a uniform approach to hearing conservation management in its Orchestras; however, each orchestra actively grapples with the challenges of balancing legal, practical, and artistic concerns. This study systematically investigated hearing conservation practices, noise exposure management, and audiological screening protocols in eight professional Orchestras. The research involved personal interviews with staff at each orchestra, including inspection of venues and facilities. While all these Orchestras were aware of the risks and w...
Pierre-antoine Kremp - One of the best experts on this subject based on the ideXlab platform.
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Innovation and Selection: Symphony Orchestras and the Construction of the Musical Canon in the United States (1879-1959)
Social Forces, 2010Co-Authors: Pierre-antoine KrempAbstract:This article analyzes the determinants of innovation and success of innovation in the field of U.S. symphony Orchestras from 1879 through 1959: why did major Orchestras (N = 27) innovate by introducing works of new composers to the repertoire instead of sticking to canonical pieces? Can organizational processes account for the selection and the popularization of new composers in the repertoire? By integrating field theory and organizational theory, this analysis shows that orchestra and musical director consecration and local elite cohesiveness favored innovative programming. Composers introduced by consecrated actors and entering the repertoire at a time of low competition with established composers and high field-level innovation were more likely to survive in the repertoire and have their works performed frequently. These effects became magnified throughout composers' careers.
Donald L. Hamann - One of the best experts on this subject based on the ideXlab platform.
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The Status of Orchestra Programs in the Public Schools
Journal of Research in Music Education, 1998Co-Authors: Robert Gillespie, Donald L. HamannAbstract:The objective of this study was to gather descriptive information about orchestra programs that can be used as baseline data when considering the needs of school string programs. Of the 1,345 surveys sent to schools offering orchestra instruction, 652 were completed. Orchestra teachers were asked to describe themselves, their schools, and their orchestra's curriculum, students, and music. Findings indicate a continued enrollment increase in school Orchestras in the 1990s, although the number of orchestra teachers has remained relatively stable. Also, larger schools are more likely to offer orchestra instruction. The majority of orchestra students and their teachers are white. More than two-thirds of students who begin to play stringed instruments in the schools continue playing them until graduation. Twenty percent of orchestra students are in the upper 10% of their graduating class, even though they make up less than 5% of the student population.
Terrien Pascal - One of the best experts on this subject based on the ideXlab platform.
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Une conception régionale de l’orchestre : la création de l’ONPL
Paris; Budapest; Torino: l'Harmattan; Angers: Éd. de l'UCO-Université catholique de l'Ouest, 2020Co-Authors: Terrien PascalAbstract:International audienceThe Philharmonic Orchestra of Pays de la Loire (OPPL), now National Orchestra of Pays de la Loire (ONPL), is the second orchestra created in France in 1971, after the Orchestra of Paris created in 1967. This realization requires to bring together the Orchestras of two nearby cities but rivals on the cultural, artistic and musical level, Nantes and Angers, and to give the musicians of both Orchestras the desire to have a common destiny through a large regional orchestra. Marcel Landowski, director of music at the Ministry of Culture during this time, thinks the merger of the Orchestra of the Nantes Concert Association and the Orchestra of the Popular Concert Society of Angers into a Philharmonic Orchestra of Pays de la Loire. He entrusts the mission to a young musical organizer that he sends to meet local actors in 1967. This is the genesis of this orchestral creation which we describe in this book chapter by relying on the testimony collected by Michel Decoust, musical organizer appointed by Mr. Landowski, in this political, social and cultural context of the late 1960s.L’orchestre philharmonique des Pays de la Loire (OPPL), aujourd’hui Orchestre national des Pays de la Loire (ONPL), est le deuxième orchestre créé en France en 1971, après l’Orchestre de Paris créé en 1967. Cette réalisation a nécessité de réunir les orchestres de deux villes proches mais rivales sur le plan culturel, artistique et musical, Nantes et Angers, et de donner aux musiciens des deux phalanges l’envie d’avoir un destin commun à travers un grand orchestre régional. Marcel Landowski, directeur de la musique au ministère de la culture à cette époque, a imaginé la fusion de l’Orchestre de l’Association des concerts de Nantes et l’Orchestre de la Société des concerts populaires d’Angers en un Orchestre philharmonique des Pays de la Loire. Il en a confié la mission à un jeune « animateur musical » qu’il envoie à la rencontre des acteurs locaux en 1967. C’est la genèse de cette création d’orchestre dont nous rendons compte dans ce chapitre d’ouvrage en nous appuyant sur le témoignage recueilli auprès de Michel Decoust, animateur musical désigné par M. Landowski, dans ce contexte politique, social et culturel particulier de la fin des années 1960
Margaret Kartomi - One of the best experts on this subject based on the ideXlab platform.
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Youth Orchestras
The Oxford Handbook of Music Education Volume 1, 2012Co-Authors: Margaret KartomiAbstract:Youth Orchestras are central to the music education of tens of thousands of children and teenagers throughout the world, yet studies of their social function, cultural significance, and pedagogical value remain largely unexplored. Even if students receive their principal musical training through individual lessons and school ensembles, participating in a separate youth orchestra can be a life-changing experience for many musicians. This article defines youth Orchestras in an international context, and then articulates and measures the pedagogical value of them in one particular case study: the ethos and educational outcomes of the Young Australian Concert Artists program of the Australian Youth Orchestra.
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Youth Orchestras in the global scene
2007Co-Authors: Margaret KartomiAbstract:This article situates Australian and other exemplars of youth Orchestras within a global classification system and identifies the many factors that shape their identities. The key indicators of an orchestra's identity are the nature and extent of its pool of auditioned players, the size of the ensemble, stakeholders' consciousness of its heritage, the pedigree of its tutors and conductors, choice of repertoire, educational and performance programs and the advancement of equity and other ethical policies. Other indicators include funding, performance standard and administrative structure. National youth Orchestras frequently serve as cultural ambassadors, while state, regional, city, suburban and institutional or school Orchestras accommodate the demands of their respective constituencies. Orchestras that draw from an international pool of players tend also to play out idealistic socio-political roles. Finally, the article discusses the controversial issue of repertoire choice.