scholarly journals From classic to rap: Airborne transmission of different singing styles, with respect to risk assessment of a SARS-CoV-2 infection

2021 ◽  
Author(s):  
Bernhard Richter ◽  
Anna Maria Hipp ◽  
Bernd Schubert ◽  
Marcus Rudolf Axt ◽  
Markus Stratmann ◽  
...  
Keyword(s):  
Risk Assessment ◽  
Popular Music ◽  
Air Velocity ◽  
Airborne Transmission ◽  
Concert Hall ◽  
Professional Singers ◽  
Wind Instrument ◽  
Music Making ◽  
Classical Style ◽  
Music Activities

Since the Covid-19 virus spreads through airborne transmission, questions concerning the risk of spreading infectious droplets during singing and music making arose. To contribute to this question and to help clarify the possible risks, we analyzed 15 singing scenarios (1) qualitative, by making airflows visible, while singing, and (2) quantitative, by measuring air velocities in three distances (1m, 1.5m and 2m). Air movements were considered positive, when lying above 0.1 m/s, which is the usual room air velocity in venue, such as the concert hall of the Bamberg Symphony, where our measurements with three professional singers (female classical style, male classic style, female popular music styles) took place. Our findings highlight, that high measurements for respiratory air velocity while singing, are comparable to measurements of speaking and, by far, less than coughing. All measurements for singing stayed within a reach of 1.5m, only direct voiceless blowing achieved measurements at the 2m sensor. Singing styles, which use plosive sounds i.e. consonants more often, such as rap, produced the highest air velocities of 0.17 m/s at the 1m sensor. Also, singing, while wearing a facemask, produces no air movements over 0.1 m/s. On the basis of, our recent studies on measurements of airflows and air velocities of professional singers and wind instrument players, as well as further studies on CO2; measurements in room settings of music activities, we publish our results, in consideration of further up-to-date research, in our frequently updated risk assessment (first published in April 2020). On this behalf, we suggest 2m radial distances for singers, especially in choirs.

scholarly journals Airflow and air velocity measurements while playing wind instruments, with respect to risk assessment of a SARS-CoV-2 infection

2020 ◽  
Author(s):  
Claudia Spahn ◽  
Anna Hipp ◽  
Bernd Schubert ◽  
Marcus Rudolf Axt ◽  
Markus Stratmann ◽  
...  
Keyword(s):  
Risk Assessment ◽  
Wind Instruments ◽  
Velocity Measurements ◽  
Air Velocity ◽  
Airborne Transmission ◽  
Wind Instrumentalists ◽  
Alto Flute ◽  
Brass Instruments ◽  
Wind Instrument ◽  
Air Jet

AbstractDue to airborne transmission of infection with the coronavirus, the question arose as to how high the risk of spreading infectious particles can be while playing a wind instrument.To contribute to this question and to help clarify the possible risks, we analyzed 14 wind instruments, first qualitative by making airflows visible while playing and second quantitative by measuring air velocities at three distances (1m, 1.5m and 2m) in direction of the instrument’s bell.Measurements took place with wind instrumentalists of the Bamberg Symphony in their concert hall.Our findings highlight that while playing all wind instruments no airflow escaping from the instruments – from the bell with brass instruments, from the mouthpiece, keyholes and bell with woodwinds – was measured beyond a distance of 1.5m from the instruments’ bell, regardless of volume, pitch or what was played. With that, air velocity while playing corresponded to the usual value of hall-like rooms, of 0.1 m/s. For air-jet woodwinds, alto flute and piccolo, significant air movements were seen close to their mouthpieces, which escaped directly into the room without passing through the instrument and therefore generating directed air movements.

scholarly journals Airflow and Air Velocity Measurements While Playing Wind Instruments, with Respect to Risk Assessment of a SARS-CoV-2 Infection

2021 ◽  
Vol 18 (10) ◽  
pp. 5413
Author(s):  
Claudia Spahn ◽  
Anna Maria Hipp ◽  
Bernd Schubert ◽  
Marcus Rudolf Axt ◽  
Markus Stratmann ◽  
...  
Keyword(s):  
Risk Assessment ◽  
Wind Instruments ◽  
Velocity Measurements ◽  
Air Velocity ◽  
Airborne Transmission ◽  
Wind Instrumentalists ◽  
Alto Flute ◽  
Brass Instruments ◽  
Wind Instrument ◽  
Air Jet

Due to airborne transmission of the coronavirus, the question arose as to how high the risk of spreading infectious particles can be while playing a wind instrument. To examine this question and to help clarify the possible risk, we analyzed 14 wind instruments, first qualitatively by making airflows visible while playing, and second quantitatively by measuring air velocity at three distances (1, 1.5, 2 m) in the direction of the instruments’ bells. Measurements took place with wind instrumentalists of the Bamberg Symphony in their concert hall. Our findings highlight that while playing, no airflows escaping from any of the wind instruments—from the bell with brass instruments or from the mouthpiece, keyholes or bell with woodwinds—were measurable beyond a distance of 1.5 m, regardless of volume, pitch or what was played. With that, air velocity while playing corresponded to the usual value of 1 m/s in hall-like rooms. For air-jet woodwinds, alto flute and piccolo, significant air movements were seen close to the mouthpiece, which escaped directly into the room.

Music Downtown Eastside

2020 ◽  
Author(s):  
Klisala Harrison
Keyword(s):  
Human Rights ◽  
Popular Music ◽  
Social Deprivation ◽  
Cultural Practices ◽  
Urban Neighborhoods ◽  
Community Centers ◽  
Human Capabilities ◽  
Music Making ◽  
Downtown Eastside ◽  
Therapy Sessions

Music Downtown Eastside explores how human rights are at play in the popular music practices of homeless and street-involved people who feel that music is one of the rare things that cannot be taken away of them. It draws on two decades of ethnographic research in one of Canada’s poorest urban neighborhoods, Vancouver’s Downtown Eastside. Klisala Harrison takes the reader into popular music jams and therapy sessions offered to the poorest of the poor in churches, community centers and health organizations. There she analyzes the capabilities music-making develops, and how human rights are respected, promoted, threatened, or violated in those musical moments. When doing so, she also offers new and detailed insights on the relationships between music and poverty, a type of social deprivation that diminishes people’s human capabilities and rights. The book contributes to the human rights literature by examining critically how human rights can be strengthened in cultural practices. Harrison’s study demonstrates that capabilities and human rights are interrelated. Developing capabilities can be a way to strengthen human rights.

Diversifying Musical Experiences in Schools and Music Teacher Preparation Programs

2019 ◽  
pp. 891-901
Author(s):  
Robert H. Woody ◽  
Mark C. Adams
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
The United States ◽  
Music Teacher ◽  
Education Programs ◽  
Preparation Programs ◽  
Music Making ◽  
Large Ensembles ◽  
Classical Traditions

This chapter discusses the innate differences between vernacular music-making cultures and those oriented in Western classical traditions, and suggests students in traditional school music education programs in the United States are not typically afforded opportunities to learn skills used in vernacular and popular music-making cultures. The chapter emphasizes a need to diversify music-making experiences in schools and describes how vernacular musicianship may benefit students’ musical development. It suggests that, in order for substantive change to occur in music education in the United States, teachers will need to advance beyond simply considering how to integrate popular music into their traditional large ensembles—and how preservice music teacher education programs may be the key to help better prepare teachers to be more versatile and philosophically open to teaching a more musically diverse experience in their future classrooms.

scholarly journals “A reward rather than a right”: Facilitators’ perspectives on the place of music in Norwegian prison exceptionalism

2021 ◽  
Vol 25 (3) ◽  
pp. 274-289
Author(s):  
Áine Mangaoang
Keyword(s):  
Interpersonal Communication ◽  
Social Transformation ◽  
Research Data ◽  
Future Research ◽  
Ethnographic Research ◽  
Research Practice ◽  
Music Making ◽  
Critical Understanding ◽  
The Relationship ◽  
Music Activities

Scholarship on prison music-making projects and programmes to date has largely overlooked the perspectives of prison music facilitators, who form an integral part of many prison music activities. The aim of the study, which was exploratory in nature, was to contribute to a better understanding overall of the relationship between music and imprisonment by focusing on the perspectives of prison music practitioners. Drawing from data collected in four Norwegian prisons through ethnographic research, data was analysed thematically with four key themes emerging: interpersonal communication and emotional connection; social responsibility; prison system and environment, and (in)difference and exclusion. The findings highlight the fact that the range of prison music activities offered in many Norwegian prisons affects music facilitators deeply in a number of ways, and support existing studies that find that prison music practices can contribute to creating a community of caring individuals both inside and outside prisons. Notably, the emergence of the (in)difference and exclusion theme demonstrates a more critical and nuanced view of prison music facilitators’ experiences as going beyond simplistic, romantic notions of music’s function in social transformation. Concerns raised for those who appear to be excluded or differentiated from music-making opportunities in prison – in particular foreign nationals and women – suggest that (even) in the Norwegian context, music in prisons remains a “reward” rather than a fundamental “right.” This study marks a step towards a richer and more critical understanding of prison musicking and aims to inform future research, practice, and the processes involved in the possibilities for offering music in prisons.

The Ideal Idol

2017 ◽  
Author(s):  
Jennifer Milioto Matsue
Keyword(s):  
Popular Music ◽  
Female Empowerment ◽  
Music Making ◽  
The Future ◽  
On Line ◽  
Technical Production ◽  
The Ideal

Hatsune Miku is immensely popular. Since debuting in 2007 over 10,000 songs have been produced for her and she has appeared in 250,000 videos on-line. 4000 professional recordings have been released of her songs and numerous dolls, games, and other seemingly unlimited forms of merchandise feature her big violet eyes, floor-grazing blue pigtails and futuristic schoolgirl uniform. Hatsune Miku is actually a type of vocal synthesizer software produced by Yamaha and marketed by Crypton known as “Vocaloid 2.” Other vocal synthesizer softwares with associated characters have come before, but none have enjoyed the same success as Hatsune Miku. Hatsune Miku’s performance – whether in amateur produced songs posted on Piapro or in multi-million-dollar live 3D productions – raises many questions about the potential effects of Vocaloid software on the future of making music in Japan. Through the technical production of songs, the quality of vocals, and her presence on stage, Hatsune Miku slides back and forth between a position of classic passivity to one of female empowerment and feminist approaches to equity. This chapter further explores Hatsune Miku’s complicated position as a performer who perpetuates an objectified position of women in popular music while at the same time promotes democratic music making.

The power to do something

2020 ◽  
pp. 189-198
Author(s):  
Klisala Harrison
Keyword(s):  
Human Rights ◽  
Popular Music ◽  
Causal Relationship ◽  
Socioeconomic Inequality ◽  
Human Capabilities ◽  
Music Making ◽  
The Poor ◽  
Musical Practices

This book has examined human rights, and the development of capability—the “power to do something”—in musical practices. It has explored if (popular) music-making can enhance human rights and capabilities of the poorest of the poor, such as homeless and street-involved people, who feel that music is a “thing” that can never be taken away from them. This conclusion points out how the book defined capabilities in a novel and useful way. When synthesizing the book’s main findings, it describes a causal relationship between developing human capabilities, and strengthening human rights which operate in complex ways musical and cultural moments. Specific human capabilities can be nurtured so as to develop specific human rights. The chapter reflects and elaborates on critiques of human rights pertinent to music in and as culture. With attention to socioeconomic inequality, it offers inspiration for making, and thinking about, musical and cultural efforts to promote human rights and capabilities.

Measuring pre-service music teachers’ creative identities: a cross-cultural comparison of the United States and Singapore

2019 ◽  
Vol 36 (02) ◽  
pp. 197-210
Author(s):  
Clint Randles ◽  
Leonard Tan
Keyword(s):  
United States ◽  
Music Education ◽  
Popular Music ◽  
Music Teachers ◽  
Music Performance ◽  
The United States ◽  
Music Listening ◽  
Music Making ◽  
Creative Identity ◽  
Service Music

AbstractThe purpose of this study was to examine and compare the creative musical identities of pre-service music education students in the United States and Singapore. The Creative Identity in Music (CIM) measure was utilized with both US and Singapore pre-service music teacher populations (n = 274). Items of the CIM relate to music-making activities often associated with creativity in music education in the literature, including composition, improvisation and popular music performance. Results suggest, similar to findings of previous research, that while both populations are similar in their degree of creative music-making self-efficacy and are similarly willing to allow for creativity in the classroom, Singaporean pre-service music teachers value the areas of creative identity and the use of popular music listening/performing within the learning environment to a significantly greater extent (p < 0.0001) than their US counterparts.

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