Data on lifespan and some reasons of musicians' death of the XX century are presented in this article. The mean age of death (MAD) in male musicians (n=20 218) was 67,8 years, whereas the MAD in female ones was 71,5 years. «Classic» musicians both men and women lived longer than jazz, pop and variety music performing musicians (6,3 and 9,7 years longer respectively) and much longer then rock musicians (21,7 and 30,7 years longer, respectively). Among classic music interpreters, 10,8% of men and 21,5% of women survived into their 90 years' old; among jazz and variety musicians - 5,4 and 9,2% respectively; rock musicians barely survived to 90 years of age (0,4% in men and women). Male musicians of classic genre (9 100 persons) lived for 3,5 less then female musicians of the same genre (2 339). The MAD of jazz and variety musicians wasn't difference in men (7 974) and women (1 770) and the MAD in female rock musicians (254) was 5,5 years less as compared with male (3 144). Frequency of suicides, deaths by misadventure, murders and malignant tumors was maximum in rock musicians and minimally in «classics». All these events related to the music genre. The data of musicians of the XX century who have reached the age of 101 years old are presented in this article as well.
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Mem Cognit
August 2024
Department of Music Pedagogy, University Mozarteum Salzburg, Innsbruck, Austria.
Although people commonly remember and recreate the tempo of musical pieces with high accuracy, comparatively less is known regarding sources of potential variation in musical tempo memory. This study therefore aimed to investigate musical tempo memory accuracy and the effects of reference tempo, reproduction method, musical expertise, and their interaction. A sample of 403 individuals with varying levels of musical training participated in the experimental online study, including nonmusicians, amateur musicians, and professional musicians.
View Article and Find Full Text PDFJ Hum Lact
November 2022
Beruffsverband vun den Lakatatiounsberoderinnen zu Lëtzebuerg, Luxembourg.
Leah Margulies was Director of the Infant Formula Program at the Interfaith Center on Corporate Responsibility in New York City (NYC) from 1975 to 1985. She is a founder of the International Nestle Boycott, Corporate Accountability (formerly INFACT), and one of the founders of the International Baby Food Action Network (IBFAN). She was hired at UNICEF in 1982 to set up the legal office for implementation of the International Code of Marketing Breastmilk Substitutes, as part of the Baby Friendly Hospital Initiative.
View Article and Find Full Text PDFJ Hum Lact
August 2022
Beruffsverband vun den Lakatatiounsberoderinnen zu Lëtzebuerg, Luxembourg.
Leah Margulies was Director of the Infant Formula Program at the Interfaith Center on Corporate Responsibility in NYC from 1975 to 1985. She is a founder of the International Nestlé Boycott, Corporate Accountability (formerly INFACT), and one of the founders of the International Baby Food Action Network (IBFAN). She was hired at UNICEF in 1982 to set up the legal office for implementation of the International Code of Marketing Breast-Milk Substitutes, as part of the Baby Friendly Hospital Initiative.
View Article and Find Full Text PDFFront Psychol
June 2021
Department of Music Education, Boston University, Boston, MA, United States.
The purpose of this study was to examine the characteristics, attitudes, and perceptions of older musicians who participated regularly in a local blues jam. Six core dimensions of eudaimonic well-being and their conceptual foundations provided a framework for examining the way that music-making contributes to subjective well-being during the lifespan of an individual. The following research questions guided this investigation: (1) In what ways do biographical factors and engagement with music influence the lives of older adult blues/rock musicians who participate in a local blues jam? (2) What implications for subjective well-being with regard to music learning might be used to inform music education practices? Interviews and observations over a 2-month period provided data for understanding how lived experiences impacted personal well-being, and musical growth and development over time.
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