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Introduction: the objective of the study was to find out the microstate map topographies and their parameters generated during the resting state and during listening to North Indian classical Music Raag 'the Raag Bilawal'. It was hypothesized that in the resting state and during listening to music conditions, there would be a difference in microstate parameters i.e. mean duration, global explained variance (GEV), and time coverage. Methods: a 128-channel electroencephalogram (EEG) was recorded for 12 Indian subjects (average age 26.1+1.4 years) while resting and listening to music using the EEG microstate investigation. Investigation and comparison of the microstate parameters were the mean duration, global explained variance (GEV), and time coverage between both conditions were performed. Results: seven microstate maps were found to represent the resting state and listening to music condition, four canonical and three novel maps. No statistically significant difference was found between the two conditions for time coverage and mean duration. The statistical significance levels of the map-1, map-2, map-3, map-4, map-5, map-6, and map-7 for the mean duration were 0.4, 0.6, 0.97, 0.34, 0.32, 0.69, and 0.29 respectively; and for time coverage were 0.92, 0.92, 0.96, 0.64, 0.78, 0.38, and 0.76 respectively. Map-1, map-4, and map-7 were the three novel maps we found in our study. Conclusion: similarities regarding stability and predominance of maps with small vulnerability exist in both conditions indicating that phonological, visual, and dorsal attention networks may be activated in both resting state and listening to music condition.

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There are currently a limited number of Indian classical music datasets, especially those large enough and with useful annotations, particularly the subtler ones, such as the tonic, for training classification or prediction models. The dataset described in this paper is created with useful tonic annotations, to fill this gap. The tonic pitch, or base pitch, plays an important role in music, so much so that it is sometimes called the keynote. The vocalists and the accompanying instrumental ensemble are fine-tuned to this keynote to render the composition. The first and second authors of this paper, who are vocalists themselves, recorded songs in four different tonics: F#, G, G#, and A. Using the Python library pydub, each 3+ minute song was segmented into 20-second snippets, including the remainder as a separate snippet. The raw audio snippet data is available in folders separated by tonic, and a directory contains each snippet's file path and tonic. This dataset can be reused for tonic classification work in the future, as well as for training other automated systems targeting higher-level attributes of ICM, such as melodic framework, as a tonic can be the basis for them all.

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Physical and mental health problems in music students are usually identified using self-reported data. The use of an Electronic Health Record database can avoid biases to give an overview of the extent of health problems in this population. Therefore, the aim of this study is to gain insight into both physical and mental health related issues in classical music students using this type of data collection. An Electronic Health Record database including five years of data from a Performing Arts Health Centre (PAHC) of a university or the arts, was used to analyze the number and characteristics of health consultations in music students. The total number of students, health consultations and the average number of visits per health consultation were calculated over five years. Furthermore, numbers and percentages of both physical and mental health consultations were registered. Also, the number and percentage of health consultations per instrument group were compared to the proportion of each instrument group within the specific sample. Over a period of five years, 230 students visited the PAHC and 417 health consultations were reported. 43.5% of the students who visited a health professional indicated at least one physical health consultation, 29.1% at least one mental health consultation and 27.4% at least one in both categories. An injury was the most frequently registered physical health consultation (40.2%), followed by performance improvement (9.8%) and stress (9.6%). Voice students registered relatively most health consultations. As far as we know, this is the first cross-sectional study using Electronic Health Record data from a PAHC to gain insight into both physical and mental health related issues in a population of classical music students. Looking at the variety of health consultations registered in the database, a multidisciplinary team and multidisciplinary approach are necessary to meet the needs of the students in terms of physical and mental health support and performance improvement.

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BACKGROUND: The importance of music in intensive care medicine is still controversial and the mechanisms of music are unclear. It is important whether different music styles (classical music [CM], Heavy Metal [HM] show measurable effects on blood pressure (BP) or heart rate (HR) in humans or not. It is also unclear whether behavioral patterns are influenced by music (CM, HM) in animals. METHODS: We studied the influence of CM (Bach, Orchestral Suite No. 3, BWV 1068) and HM (Band Disturbed: Indestructible) compared to a control group (CO) without music exposure in 120 healthy subjects (60 study subjects, 60 control subjects) and 36 young pigs (18 Pietrains, 18 Wiesenauer Minipigs) according to an identical study protocol (21 minutes of music exposure (CM, HM) or 21 minutes of no music (C0). RESULTS: We were able to clearly demonstrate in 36 pigs that CM led to significantly more activity behavior than HM or CO (p<0,01). HM caused significantly more stress behavior than CM or CO (p<0,01). In humans, there was a decrease in BPsyst, BPdiast or HR (beats per minute [bpm]) among CM: decrease BPsyst -7,5±9,1 mm Hg, BPdiast -4,9±7,5 mm Hg, HR -7,2±10,2 bpm. This was observed less frequently in HM: BPsyst -3,6±7,1 mm Hg, BPdiast -2,7±6,9 mm Hg, HR -5,9±9,0 bpm. The influence of BP and HR was significantly lower in CO compared to music: BPsyst -2,3±7,2 mm Hg, BPdiast -2,0±7,3 mm Hg, HR -5,8±12,3 bpm. CONCLUSIONS: BP and HR in humans and behavioral patterns in animals are clearly influenced by music. CM leads more frequently to activity behavior in animals and to lower BP and HR in humans compared to HM or CO. In both animal breeds, stress behavior was observed more frequently in HM compared to CM or CO. Therefore, music may play a role in intensive care medicine.

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OBJECTIVE: This study investigated the effect of lullabies and classical music on preterm neonates' cerebral oxygenation, vital signs, and comfort during orogastric (OG) tube feeding. METHODS: This was a parallel-group pretest-posttest randomized controlled study. The research was conducted between December 2020 and May 2022. The sample consisted of 51 preterm neonates hospitalized in the neonatal intensive care unit (NICU) of Selçuk University Faculty of Medicine Hospital in Konya, Türkiye. Participants were randomized into three groups (17 preterm infants in each group). The first group listened to lullabies sung by their mothers and the second group listened to classical music during OG tube feeding. The control group received routine care with no music. Data were collected using a Neonatal Identification Information Form, Physiological Parameters and rSO2 Monitoring Form, and the Newborn Comfort Behavior Scale (Comfort-Neo). The study was registered on the ClinicalTrials database (NCT05333575). RESULTS: The lullaby group had stable peak heart rates and oxygen saturation levels (p = .002). Both lullaby and classical music groups had significantly higher cerebral oxygenation levels than the control group. The classical music group had the highest cerebral oxygenation level (p = .001). Both lullaby and classical music groups had significantly higher mean Comfort-Neo scores than the control group. The classical music group had the highest mean Comfort-Neo score (p = .040). CONCLUSION: Preterm neonates who listen to lullabies and classical music are likely to have higher cerebral oxygen and comfort levels. Listening to lullabies helps stabilize vital signs. These results suggest that healthcare professionals should encourage parents to get their preterm neonates to listen to lullabies and classical music.

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During the learning process, music can activate important neural areas in the brain, promoting the retention of information and memory formation. However, studies testing music effects on memory had found different improvements, which could be due to the methodological differences across studies. Thus, the purpose of this article was to systematically review the literature and meta-analyze the effects of music on Rattus norvegicus' explicit memory (Maze tests) only in controlled investigations. The seven studies included led to a very homogeneous analysis (I2 = 0%), confirming the consistency of the significant standardized mean difference (SMD) between the memory of animals exposed and not exposed to music (SMD 0.60 (95% CI 0.38; 0.83, p < 0.001)). Exploratory analysis suggests music benefits on memory can be acquired when begun at any age, when tested with the three types of mazes evaluated, with exposure lasting from 8 to 83 days and when the age on test day was either under 30 days or over 30 days. To expand the actual understanding of music effects on memory, future studies should investigate different types of music and animal species, with different sex and health conditions, at different time points.

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Ancient Indian classical music (ICM) has long been lauded and recognized for influencing emotional responses by influencing the human body's resonance. A meta-analysis of prospective case studies published in the last ten years on the effect of ancient Indian music ragas on brain waves is investigated. This meta-analysis aimed to analyze published prospective studies investigating the effect of ancient Indian ragas on EEG in healthy subjects. The present study included prospective studies published since 2012. Studies were obtained by searching four databases, such as PsychINFO, PubMed, Google Scholar, and JSTOR, and searching related journals. Eligibility criteria included studies assessing the impact of listening to Indian classical music on the EEG. Primary outcomes were changes in the brain waves, frequency, and power and their relationship to activity-related arousal, attention, and mental tasks. The studies were analyzed according to the PRISMA guidelines. There were a total of five included studies with 71 participants in the age range of 19-30, and the conditions for the test groups were generally similar except for varying types of ragas used and time of day. Analysis of the data collected from 71 participants revealed that music interventions had statistically significant effects on increasing alpha activity and attention scores. Fractal analysis was sensitive enough to detect EEG brainwave changes while and after listening to the raga musical intervention. Ragas stimulate arousal in different areas of the brain, depending on the emotions they are designed to evoke. However, the synchronized studies together could not highlight a significant relationship between ragas and EEG fractal dimension values. Although the meta-analysis failed to reproduce the same results from the individual studies, potentially due to the small sample size and study variation, the meta-analysis opens doors to the potential of ragas to elicit distinct emotions and serve as robust predictors of emotional response. Future studies can explore the therapeutic potential of various ragas in the clinical setting, such as in the management of cognitive disorders and stress or in modulating heart rate variability and cognitive performance.

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High-stocking density is one of the factors that can easily cause oxidative stress and inflammatory reaction of broilers. Currently, music therapy has been proposed to help animals relieve stress to some extent. However, it is still unclear whether classical music can alleviate stress in broilers at high stocking densities. Hence, this study aimed to investigate the effects of classical music on growth performance, stress level, antioxidant index, immune function and meat quality of broilers under different stocking densities. A total of 540 one-day-old broilers with similar body weight were randomly divided into 6 treatment groups, with 6 replicates per group, which included two feeding environments (with/without classical music) and three stocking densities (15.5, 17.9, and 20.3 birds/m2), thereby making a 2 × 3 factorial arrangement. The results showed as follows: increasing stocking density decreased the average daily feed intake and average daily gain (ADG), increased feed-to-gain ratio (F/G) and mortality of broilers. Moreover, increased density resulted in an increase in serum corticosterone (CORT) and adrenocorticotropic hormone (ACTH) levels. Increasing stocking density decreased spleen and bursal indices, serum immunoglobulin A (IgA), immunoglobulin G (IgG), and immunoglobulin M (IgM) levels. Increasing stocking density elevated serum malondialdehyde (MDA) and decreased catalase (CAT), superoxide dismutase (SOD) and glutathione peroxidase (GSH-PX) activities. Increasing stocking density decreased serum total protein (TP) levels and increased total cholesterol (TC) and glucose (GLU) levels. Additionally, increasing stocking density decreased the cooking liss of pectoralis and increased the L*24h value of pectoralis. Meanwhile, playing classical music for broilers increased their ADG and decreased F/G, and decreased serum CORT, ACTH, GLU content. In addition, the bursa of Fabricius index, serum IgA and IgG contents as well as the a*24h value of pectoralis was increased under the music therapy. In conclusion, high-stocking density (20.3 birds/m2) harmed the growth performance and health of broilers, and the classical music stimulus ameliorated the negative effects to some extent.

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AIM: To determine the impact of classical music on the anxiety and pain perception of patients who underwent thyroid fine-needle aspiration biopsy (TFNAB) for the first time. METHODS: In a prospective randomized controlled design, TFNAB patients were randomized into the intervention and control groups. The State Anxiety Inventory (SAI) before and after the procedure and the visual analog scale (VAS) after procedure were used for measuring anxiety and pain. RESULTS: A total of 82 patients were included. There was no significant difference between the music intervention group (n = 41) and control group (n = 41) in terms of age, gender, work status, highest education level, SAI score before TFNAB, and duration of the procedure (p > 0.05). It was observed that the anxiety level before TFNAB was higher in women in all patient groups (p = 0.009). While the SAI score decreased significantly in the music intervention group (Z = - 3.62, p < 0.001), there was no significant difference in the control group (Z = - 1.41, p = 0.157) after TFNAB. However, no significant difference was found in terms of VAS between two groups (p = 0.075). The duration of the TFNAB procedure was correlated with the change in the SAI score (r = 0.382, p < 0.001). CONCLUSION: This is the first study to examine the impact of music on patients' anxiety and pain perception during the TFNAB procedure. Despite the fact that classical music intervention did not decrease pain perception, it significantly reduced patient anxiety. Music is an easy-to-implement intervention that can be considered as an effective method for reducing patient anxiety during TFNAB.

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BACKGROUND: Due to the Covid-19 pandemic lockdown during the online-distant education period, certain students tended to combine their courses and homework with TV or social media news or other media content, such as classical music, including a wealth of audio and audiovisual stimuli. As the audio and audiovisual stimuli existing in a learning environment may affect students' autonomic nervous system (ANS) responses negatively, the present study aimed to monitor the impact of background TV, classical music, and silence on students' ANS activity represented by heart rate (HR), heart rate variability (HRV), blood volume amplitude (BVA), and skin conductance level (SCL) during and after an experimental academic examination. METHOD: Seventy-six students were randomly allocated to background TV, classical music, or silence groups. The experiment with repeated measures design consisted of four consecutive periods: baseline, anticipation, challenge, and recovery, lasting 4 min each. RESULTS: Within-subject analyses indicated significant HRV decrement only in the background TV group. Regardless of the experimental groups, HR and SCL increased while BVA decreased during the task. In addition, the between-subject analysis showed that the background TV group experienced significantly larger changes in HR and HRV parameters compared to the other experimental groups relative to their respective baseline measurements. CONCLUSIONS: Based on these results, we concluded that relative to classical music and silence, background TV, including audiovisual and verbal stimuli, extant in a learning environment might raise students' sympathetic activity. Further, classical music, without lyrics, may suppress the withdrawal of vagal activity and elevate the autonomic regulation capacity during the academic reading comprehension task. HRV is a more valid and reliable indicator of students' autonomic responses during a challenging academic task.

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INTRODUCTION: Music is an intriguing but relatively under-researched intervention with many potential benefits for mechanically ventilated patients. The review aimed to assess the impact of listening to music as a non-pharmacological intervention on the physiological, psychological, and social responses of patients in an intensive care unit. METHODS: The literature review was conducted in the fourth quarter of 2022. The overview included papers found in Science Direct, EBSCO, PubMed, Ovid, Scopus, and original research papers published in English meeting the PICOS criteria. Articles published between 2010 and 2022 meeting the inclusion criteria were included for further analysis. RESULTS: Music significantly affects vital parameters: decreases the heart rate, blood pressure, and breathing; reduces pain intensity. The analyses confirmed that music affects anxiety levels, reduces sleep disturbances and delirium occurrence, and improves cognitive function. The effectiveness of the intervention is influenced by the choice of music. CONCLUSIONS: There is evidence of the beneficial effects of music on a patient's physiological, psychological, and social responses. Music therapy is highly effective in reducing anxiety and pain and stabilizes physiological parameters, i.e., the heart rate and respiratory rate, after music sessions in mechanically ventilated patients. Studies show that music reduces agitation in confused patients, improves mood, and facilitates communication.

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Disorder of consciousness (DOC) is a devastating condition due to brain damage. A patient in this condition is non-responsive, but nevertheless might be conscious at least at some level. Determining the conscious level of DOC patients is important for both medical and ethical reasons, but reliably achieving this has been a major challenge. Naturalistic stimuli in combination with neuroimaging have been proposed as a promising approach for DOC patient diagnosis. Capitalizing on and extending this proposal, the goal of the present study conducted with healthy participants was to develop a new paradigm with naturalistic auditory stimuli and functional near-infrared spectroscopy (fNIRS) - an approach that can be used at the bedside. Twenty-four healthy participants passively listened to 9 min of auditory story, scrambled auditory story, classical music, and scrambled classical music segments while their prefrontal cortex activity was recorded using fNIRS. We found much higher intersubject correlation (ISC) during story compared to scrambled story conditions both at the group level and in the majority of individual subjects, suggesting that fNIRS imaging of the prefrontal cortex might be a sensitive method to capture neural changes associated with narrative comprehension. In contrast, the ISC during the classical music segment did not differ reliably from scrambled classical music and was also much lower than the story condition. Our main result is that naturalistic auditory stories with fNIRS might be used in a clinical setup to identify high-level processing and potential consciousness in DOC patients.

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Introduction: Sensorineural hearing loss caused by exposure to noise is one of the most frequent causes of deafness. Professional musicians have significant occupational exposure to high levels of noise. Use of hearing protection among musicians could substantially prevent hearing damage, though the rate of use is quite low.Methods and materialA questionnaire on the use of protective hearing devices, hearing care, and subjective judgments of hearing difficulties was completed by a group of classical musicians from Spain. We analysed the frequency of device use by instrument based on contingency tables analysed by χ2 tests.ResultsOne hundred and ninety-four Spanish classical orchestral musicians voluntarily completed the questionnaire. The percentage of musicians who reported using hearing protection in our survey was very low and varied with the type of instrument played. However, we found a high prevalence of subjective auditory disorders within this group.ConclusionFew Spanish musicians use hearing protection. Training on hearing-loss prevention in this field and better protective devices could increase device use and improve the auditory health of this group. (AU)

Introducción: La hipoacusia neurosensorial motivada por la exposición al ruido es una de las causas más frecuentes de sordera. Los músicos profesionales tienen una exposición ocupacional significativa a los altos niveles de ruido. El uso de protección auditiva entre los músicos podría prevenir sustancialmente el daño auditivo, aunque su tasa de utilización es bastante baja.Métodos y materialUn grupo de intérpretes de orquesta de música clásica españoles completó un cuestionario sobre el uso de dispositivos de protección auditiva, cuidados auditivos, y opiniones subjetivas sobre las dificultades auditivas. Analizamos la frecuencia del uso de dispositivos por instrumento basada en tablas de contingencia analizadas mediante pruebas χ2.ResultadosCiento noventa y cuatro intérpretes de orquesta de música clásica españoles completaron el cuestionario voluntariamente. El porcentaje de músicos que reportaron el uso de protección auditiva en nuestra encuesta fue muy bajo, y variable dependiendo del tipo de instrumento interpretado. Sin embargo, encontramos una alta prevalencia de trastornos auditivos subjetivos dentro de este grupo.ConclusiónPocos músicos españoles utilizan protección auditiva. La formación sobre prevención de hipoacusia en este campo y la mejora de los dispositivos protectores podría incrementar el uso y mejorar la salud auditiva de este colectivo. (AU)

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INTRODUCTION: Sensorineural hearing loss caused by exposure to noise is one of the most frequent causes of deafness. Professional musicians have significant occupational exposure to high levels of noise. Use of hearing protection among musicians could substantially prevent hearing damage, though the rate of use is quite low. METHODS AND MATERIAL: A questionnaire on the use of protective hearing devices, hearing care, and subjective judgments of hearing difficulties was completed by a group of classical musicians from Spain. We analysed the frequency of device use by instrument based on contingency tables analysed by χ2 tests. RESULTS: One hundred and ninety-four Spanish classical orchestral musicians voluntarily completed the questionnaire. The percentage of musicians who reported using hearing protection in our survey was very low and varied with the type of instrument played. However, we found a high prevalence of subjective auditory disorders within this group. CONCLUSION: Few Spanish musicians use hearing protection. Training on hearing-loss prevention in this field and better protective devices could increase device use and improve the auditory health of this group.

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BACKGROUND: Music is considered a valuable method for stimulating patients with disorders of consciousness (DOC) by enhancing their awareness and arousal. Although biographical music and auditory relative stimulation has been shown, responses to other types of music has not yet been addressed. The purpose of this study was to assess the brain responses in critically ill patients under sedo-analgesia to music that is highly different in features. METHODS: We measured the individual responses to three types of music: classical (ClassM, Mozart), dodecaphonic (DodecM, Schönberg), and heavy metal (HeavyM, Volbeat) in six critically ill patients (one male, five female, all between 53 and 82 years old) with primary brain pathology under sedo-analgesia. We analyzed the changes in each patient's electroencephalogram (EEG) band composition (delta, 1-4 Hz, theta 4-8 Hz, alpha 8-13 Hz, and beta 13-30 Hz) and synchronization throughout the scalp. RESULTS: In spite of the heterogeneity in the responses, ClassM did not change the basal activity, although there was a tendency toward a decrease in brain activity. DodecM increased the alpha and beta bands from the right hemisphere. However, HeavyM increased the delta and theta bands from the frontal lobes and the alpha and beta bands from most of the scalp. No significant changes in synchronization were observed. CONCLUSIONS: Different types of music induce heterogeneous responses in the brain, suggesting that music interventions could affect the brain state of patients. HeavyM induced the greatest changes in brain responses, whereas ClassM showed a tendency to reduce brain activity. The result of this study opens the possibility of using different types of music as tools during the rehabilitation process.

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Music is an art form and cultural activity whose language, the sounds and silences, is organized in time with logic and sensitivity. Music as a whole is the result of an ancestral nonverbal and international mode of human expression and communication. The primitive and former mother-child bonding might be highly influenced and modulated by the music and singing with their babies. Musicality and music imply two different sides of the same coin, where the former is based on the human capacity to produce the latter. Some theories about evolution suggest music might have an adaptive advantage for humans in society. Historical examples of different styles in music point out that if any allusion or reminder about gender in music might happen most probably occurs in folk non always written pagan or secular music with lyrics or voice. This genre of music usually tells about traditional gender differences in jobs, habits, lifestyles, etc., and has a clear preference for male musicians, while on the contrary, classical music usually does not have a clear gender difference in meaning, and instruments are played by both. In this text, I explore and empirically describe, neuroanatomically or functionally, some examples of different genres of music and brain differences, related to music and dance. Three different genres of music (Classical music, Fado and Flamenco) are explored in an attempt to elucidate some reasons for possible gender differences.

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The purpose of this study was to investigate the effect of short-term stimulation of classical music on the behavior of pullets and to explore whether classical music as an auditory enrichment factor reduces the fear level in pullets. One hundred and twenty 10-weeks'old Roman white pullets were randomly divided into two treatments of which one group was exposed to classic music (M), and another one was the control group (N). The music was played during 8:00-18:00 every day for 7 consecutive days. The behavior of the focal animals was observed from 11:00 to13:00 every day for 7 days. The results showed that during the observation period, the pullets in group M had more comforting (P < .05) and preening (P < .05), but less aggressive (P < .01) and feather-pecking (P < .01) behaviors than those in group N. No significant difference was found in other behaviors and the duration of tonic immobility between the two groups. Therefore, auditory enrichment as a means of environmental enrichment can increase the welfare level of pullets to a certain extent.

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Objective To explore the effectiveness of the Five Elements Music Therapy(FEMT)in relieving stress in participants with different cultural backgrounds,and to compare the differences between the FEMT and the Western Art Music Therapy(WAMT)in stress relief.Methods This was a comparative pilot randomized pre-post repeated measures study,37 subjects were allocated with 2 dropped out,with an inclusion-ended sample of 35 subjects,23 from Canada and 12 from China.After informed consent,all subjects were randomly assigned to listening to either Five Elements Music or Western Art Music at home for 30 minutes,twice a week for four weeks.Participants were asked to use headphones,measure their pulse rate before and after each session,and fill out five questionnaires,including a background and demographic survey(reporting age,gender,education,cultural background,listening experience).Self-assessment of stress(pre-post after each session),General Hospital Anxiety/Depression Scale(HADS,weekly after 2nd session),Perceived Stress Survey(PSS,weekly after 2nd session),the Music Therapy Intervention Survey(MTIS,pre-post each session).Results ①There was a significant decrease in self-assessed stress scores after the second session in the FEMT compared with the WAMT group(t=-2.057,P=0.046).②In both groups,there was a significant decrease in stress scores pre-post treatment in each group(WAMT t=5.026;FEMT T=7.645,P=0.000).③There was no significant difference between the two groups in post-intervention HADS scores(P>0.05);In the Chinese sample,there was a significant difference in HADS scores after the eighth session in both FEMT and WAMT groups(t=-3.862,P=0.003),and a statistically significant difference in HADS pre-post intervention in the FEMT((t=5.117,P=0.004).There was a significant difference in MTIS pre-post treatment in the WAMT(t=-2.572,P=0.023),but in not the FEMT group(t= 1.331,P=0.207).Conclusion This pilot trial explores a safe and feasible self-administered music therapy approach for stress in two distinct cultural groups,and for the first time provides preliminary comparison and evidence of effectiveness of FEMT and WAMT in alleviating stress and anxiety.Further investigation with bigger randomized samples is needed to elucidate the effects of different kinds of music and cultural groups on stress and anxiety levels.

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Flow describes a state of intense experiential involvement in an activity that is defined in terms of nine dimensions. Despite increased interest in understanding the flow experience of musicians in recent years, knowledge of how characteristics of the musician and of the music performance context affect the flow experience at the dimension level is lacking. In this study, we aimed to investigate how musicians' general music performance anxiety (MPA) level (i.e., the general tendency to experience anxiety during solo music performances) and the presence of an audience influence the nine flow dimensions. The participants were 121 university music students who performed solo a music piece once by themselves (private performance) and once in front of an audience (public performance). Their general MPA level was measured with an adapted version of the STAI and ranged from 27 (very low MPA) to 76 (very high MPA). The level of the nine flow dimensions was assessed with the Flow State Scale-2 after each performance. The levels of "concentration on task at hand," "sense of control," and "autotelic experience" decreased significantly with increasing general MPA level. The levels of "unambiguous feedback" and "loss of self-consciousness" decreased significantly with increasing general MPA level during the public performance only. The level of "sense of control" was significantly lower during the public performance than the private performance across participants. The level of "unambiguous feedback" was significantly lower during the public performance than the private performance for participants with a general MPA level higher than 47. The level of "loss of self-consciousness" was significantly lower during the public performance than the private performance for participants with a general MPA level higher than 32. In contrast, the general MPA level and the audience did not significantly affect the levels of "challenge-skill balance," "clear goals," and "action-awareness merging." These results show that the effects of general MPA level and audience vary greatly across flow state dimensions. We conclude that musicians' flow state should be analyzed at the dimension level rather than as a global score. We discuss how our findings could inform the development and implementation of interventions.

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In the Western classical tradition music criticism represents one of the most complex and influential forms of performance assessment and evaluation. However, in the age of peer opinion sharing and quick communication channels it is not clear what place music critics' judgments still hold in the classical music market. This article presents expert music critics' view on their role, function, and influence. It is based on semi-structured interviews with 14 native English- and German-speaking critics who had an average of 32 years professional activity in classical music review. We present the first visual model to summarize music critics' descriptions of their role and responsibilities, writing processes, and their influences (on the market and on artists). The model distinguishes six roles (hats): consumer adviser, teacher, judge, writer, stakeholder, and artist advocate. It identifies core principles governing critical writing for music as well as challenges that arise from balancing the above six responsibilities whilst remaining true to an implicit code of conduct. Finally, it highlights the factors that inform critics' writing in terms of the topics they discuss and the discursive tools they employ. We show that music critics self-identify as highly skilled mediators between artists, producers and consumers, and justify their roles as judge and teacher based on a wealth of experience as against the influx of pervasive amateur reviews. Our research approach also offers occupation-based insights into professional music review standards, including the challenges of maintaining objectivity and resisting commercial pressures. This article offers a new viewpoint on music critics' judgments and recommendations that helps to explain their expectations and reflections.