Music Therapists' Job Satisfaction and Related Factors: A Cross-Sectional Survey in Five European Countries and Israel.

Studies on the job satisfaction of music therapists are needed for the growth of the profession and their findings may help to improve the well-being of practitioners. The aim of this cross-sectional survey was to explore the levels of satisfaction of music therapists with their profession and to identify the factors influencing their job satisfaction in several countries where this topic is under researched (Israel, Germany, Spain, Switzerland, Czech Republic, and Austria). Descriptive and inferential statistics of data obtained through an online survey of 439 practicing music therapists found the highest levels of job satisfaction were reported in Spain and the lowest levels were reported in Germany.

Physiological audience synchrony in classical concerts linked with listeners' experiences and attitudes.

A series of eleven public concerts (staging chamber music by Ludwig van Beethoven, Brett Dean, Johannes Brahms) was organized with the goal to analyze physiological synchronies within the audiences and associations of synchrony with psychological variables. We hypothesized that the music would induce synchronized physiology, which would be linked to participants' aesthetic experiences, affect, and personality traits. Physiological measures (cardiac, electrodermal, respiration) of 695 participants were recorded during presentations.

Audience synchronies in live concerts illustrate the embodiment of music experience.

A study of 132 audience members of three classical public concerts (all three staged the same chamber music pieces by Ludwig van Beethoven, Brett Dean, and Johannes Brahms) had the goal of analyzing the physiological and motor responses of audiences. It was assumed that the music would induce synchronous physiology and movement in listeners (induction synchrony). In addition to hypothesizing that such synchronies would be present, we expected that they were linked to participants' aesthetic experiences, their affect and personality traits, which were assessed by questionnaires before and after the concerts.

Performing arts as a health resource? An umbrella review of the health impacts of music and dance participation.

An increasing body of evidence notes the health benefits of arts engagement and participation. However, specific health effects and optimal modes and 'doses' of arts participation remain unclear, limiting evidence-based recommendations and prescriptions. The performing arts are the most popular form of arts participation, presenting substantial scope for established interest to be leveraged into positive health outcomes.

Enhanced auditory disembedding in an interleaved melody recognition test is associated with absolute pitch ability.

Absolute pitch (AP) and autism have recently been associated with each other. Neurocognitive theories of autism could perhaps explain this co-occurrence. This study investigates whether AP musicians show an advantage in an interleaved melody recognition task (IMRT), an auditory version of an embedded figures test often investigated in autism with respect to the these theories.

Autistic traits, resting-state connectivity, and absolute pitch in professional musicians: shared and distinct neural features.

Background: Recent studies indicate increased autistic traits in musicians with absolute pitch and a higher proportion of absolute pitch in people with autism. Theoretical accounts connect both of these with shared neural principles of local hyper- and global hypoconnectivity, enhanced perceptual functioning, and a detail-focused cognitive style. This is the first study to investigate absolute pitch proficiency, autistic traits, and brain correlates in the same study.

Kinematic Origins of Motor Inconsistency in Expert Pianists.

For top performers, including athletes and musicians, even subtle inconsistencies in rhythm and force during movement production decrease the quality of performance. However, extensive training over many years beginning in childhood is unable to perfect dexterous motor performance so that it is without any error. To gain insight into the biological mechanisms underlying the subtle defects of motor actions, the present study sought to identify the kinematic origins of inconsistency of dexterous finger movements in musical performance.

Investigating the Voce Faringea: Physiological and Acoustic Characteristics of the Bel Canto Tenor's Forgotten Singing Practice.

Several historical sources from the first half of the 19th century mention a distinct third register mechanism particular to tenor voices of that period. This so-called voce faringea-often described as an "intermediate" register-is a virtually forgotten historical singing practice used to extend the upper range of the voice, where the singer modifies falsetto, typically a weak and often feminine sound, into a more powerful, tenor-like vocal quality. Based on an evaluation of historical voice register theories, training strategies, and the sound ideals of the historical period, an informed discussion of that technique is developed.

Quantification of a secondary task-specific tremor in a violinist after a temporal lobectomy.

Task-specific tremors (TSTs) occur mainly during certain tasks and may be highly disabling. In this case study, we report on a 66-year-old violinist who developed a TST of the right arm only while playing the violin 4 weeks after a temporal lobectomy, which had been performed as a result of his temporal lobe epilepsy. Since a similar case, to our knowledge, has not been reported so far, our aim was to quantitatively assess and describe the tremor by measuring (a) the electromyography (EMG) activity of the wrist flexor and extensor as well as (b) an accelerometer signal of the hand.

Fixed dystonia of the left hand in a violinist: a rare functional disorder.

Background: Fixed dystonia leads to an immobile abnormal posturing of the affected limb. There is an ongoing debate whether this condition is psychogenic in origin.

Case Report: We present a 21-year-old violinist with fixed dystonia after an acute overuse injury with a transient cyanosis but no signs for psychological trauma.

Alteration in forward model prediction of sensory outcome of motor action in focal hand dystonia.

Focal hand dystonia in musicians is a movement disorder affecting highly trained movements. Rather than being a pure motor disorder related to movement execution only, movement planning, error prediction, and sensorimotor integration are also impaired. Internal models (IMs), of which two types, forward and inverse models have been described and most likely processed in the cerebellum, are known to be involved in these tasks.

Task-specific tremor in violinists: evidence of coactivation in the 3 to 8 Hz frequency range.

Background: Task-specific tremor in musicians severely impairs fine motor control. However, little is known about its pathophysiology. Here, we quantify electromyography (EMG) properties in primary bowing tremor-in particular, muscular coactivation-to determine whether primary bowing tremor affects a specific frequency range of coactivation.

Focal dystonia in musicians: phenomenology, pathophysiology, triggering factors, and treatment.

Musician's dystonia is a task-specific movement disorder that manifests itself as a loss of voluntary motor control in extensively trained movements. Approximately 1% of all professional musicians develop musician's dystonia, and in many cases, the disorder terminates the careers of affected musicians. The pathophysiology of the disorder is not completely clarified.

Focal dystonia in musicians: phenomenology, pathophysiology and triggering factors.

Background: Musician's dystonia is a task-specific movement disorder that manifests itself as a loss of voluntary motor control in extensively trained movements. In many cases, the disorder terminates the careers of affected musicians. Approximately, 1% of all professional musicians are affected.

Focal hand dystonia in musicians: phenomenology, etiology, and psychological trigger factors.

NARRATIVE REVIEW: Musician's dystonia is a task-specific movement disorder, which manifests itself as a loss of voluntary motor control in extensively trained movements. In many cases, the disorder terminates the careers of affected musicians. Approximately 1% of all professional musicians are affected.

Selective loss of timbre perception for keyboard and percussion instruments following a right temporal lesion.

We report the case of a 65-year-old man WDK, who experienced selective loss of timbre perception for keyboard and percussion instruments following a right temporal stroke comprising the anterior superior and medial gyrus and parts of the insular region. Formerly an avid listener to music, the sound of an orchestra appeared to be "flat" to him. WDK and a matched control subject underwent a detailed neuropsychological test battery covering basic auditory function (audiometry and just notable difference for pitch shifts), specific auditory function (recognition of environmental sounds), specific musical functions like discrimination of pitch, interval, contour, rhythm and metre, recognition of familiar melodies, emotional responsiveness, perception of timbre and auditory spectral analysis.

Focal dystonia: advances in brain imaging and understanding of fine motor control in musicians.

This article reviews the neuroanatomic and neurophysiologic foundations of music performance and learning. Music performance is regarded as complex voluntary sensorimotor behavior that becomes automated during extensive practice with auditory feedback. It involves all motor, somatosensory, and auditory areas of the brain.

Hits to the left, flops to the right: different emotions during listening to music are reflected in cortical lateralisation patterns.

In order to investigate the neurobiological mechanisms accompanying emotional valence judgements during listening to complex auditory stimuli, cortical direct current (dc)-electroencephalography (EEG) activation patterns were recorded from 16 right-handed students. Students listened to 160 short sequences taken from the repertoires of jazz, rock-pop, classical music and environmental sounds (each n=40). Emotional valence of the perceived stimuli were rated on a 5-step scale after each sequence.