HEMU - Haute École de Musique

In the 1980s and 1990s a series of studies investigated musicians’ personalities using Cattell’s 16 personality factors, Eysenck’s PEN super factors, and Costa and McCrae’s Big Five. The findings hinted at some traits most musicians seemed to share, and highlighted differences between the personality traits of brass and string players. However, results were inconclusive and sometimes contradictory. The main aim of this study was to further investigate the topic using novel theoretical frameworks: Peterson and Seligman’s (2004) VIA classification, and Güsewell and Ruch’s (2012) responsiveness to the beautiful and good model. The character strengths and responsiveness to the beautiful and good profiles of classical and non-classical (i.e. jazz, rock, and pop) professional musicians, amateur musicians, and non-musicians were compared. In total, 324 participants equally distributed among these three subgroups completed the Values in Action Inventory of Strengths (VIA-IS; Peterson, Park, & Seligman, 2005), the Engagement with Beauty Scale (EBS; Diessner, Solom, Frost, Parsons, & Davidson, 2008), and the Appreciation of Beauty and Excellence Test (ABET; Güsewell & Ruch, 2012). Professional musicians scored significantly higher than non-musicians on self-regulation, appreciation of beauty and excellence, and responsiveness to artistic beauty; they scored significantly lower than amateurs on judgement and perspective, and lower than both amateurs and non-musicians on teamwork, fairness, and leadership. Professional classical musicians scored significantly higher than professional non-classical musicians on prudence. The latter, in turn, displayed significantly higher scores on creativity, bravery, and honesty. The two groups did not differ with respect to any of the responsiveness dimensions.

This article summarizes our views on the role of an "aggregation bias" in explaining the PPP Puzzle, in response to the several papers recently written in reaction to our initial contribution. We discuss in particular the criticisms of Imbs, Mumtaz, We show that their contentions are based on: (i) analytical counter-examples which are not empirically relevant; (ii) simulation results minimizing the extent of "aggregation bias"; (iii) unfounded claims on the impact of measurement errors on our results; and (iv) problematic implementation of small-sample bias corrections. We conclude, as in our original paper, that "aggregation bias" goes a long way towards explaining the PPP puzzle.

It is widely recognized that market failure prevents efficient risk sharing in natural-disaster insurance, leading to several public-private partnership arrangements across the globe. We argue that risk selection by the private partner is potentially an important issue. We illustrate our concerns with a simple model of reinsurance in a natural-disaster insurance market, based on the French system. Risk selection is a likely equilibrium outcome. Notably, the policies implemented by the French government correspond to the ones we identify to alleviate risk selection. Next, we discuss two public-private partnership settings that deal effectively with risk selection: Florida and Spain.

The aim of this research was to investigate preservice music teachers’ expectations of their curriculum, namely: (a) What content do they expect in view of their future professional activity? (b) Are their expectations in line with the principles of professionalized teacher education? (c) Are there any differences between the expectations of Swiss and French, and generalist and specialist preservice music teachers? Thirty prospective music teachers studying in two Swiss and two French institutions were included. The results showed that, overall, students’ expectations were (more or less) in line with the principles of professionalized teacher education. The hypothesis that the two French vs. the two Swiss and the two generalist vs. the two specialist subsamples would display distinct expectation profiles was not confirmed. Instead, a solid musical basis emerged as crucial for students to be ready to deal with the contents of professionalized initial music-teacher education.

Musicians face challenges when using stereo headphones to perform with one another, due to a lack of audio intelligibility and the loss of their usual benchmarks. Also, high levels of click tracks in headphone mixes hinder performance subtleties and harm performers’ aural health. This chapter discusses the approaches and outcomes of eight case studies in professional situations that aimed at comparing the experiences of orchestra conductors and instrumentalists while monitoring their performances through binaural versus stereo headphones. These studies assessed three solutions combining augmented and mixed reality technologies that include binaural with head tracking to conduct a large film-scoring orchestra and jazz symphonic with a click track; binaural without head tracking to improvise in trio or on previously recorded takes in the studio; and active binaural headphones to record diverse genres on a click track or soundtrack. Findings concur to show that better audio intelligibility and recreated natural-sounding acoustics through binaural rendering enhance performers’ listening comfort, perception of a realistic auditory image, and musical expression and creativity by increasing their feeling of immersion. Findings also demonstrate that the reduction of source masking effects in binaural versus stereo headphone mixes enables performers to monitor less click track, and therefore protect their creative experience and aural health.

Results from recent research have demonstrated positive effects of somatic approaches, such as the Feldenkrais Method, somaesthetics, and body mapping in the field of music. However, the direct impact of such approaches on instrumental sound has not been studied so far. The present pilot study was thus designed to investigate the influence of non-judgmental body awareness on the sound of high string instruments. Eleven students of the music universities of Neuchâtel and Lausanne were requested to sense specific parts of their body while playing one long note. The analysis of audio recordings and interviews conducted post hoc show a positive correlation between the subjective experience of ease participants reported, and objective sound volume or stability. The largest effects were observed when participants were aware of their pelvis, rib cage or head region. Increases of sound volume or stability were often accompanied by non-voluntary changes in body-weight distribution, indicating that body awareness had a direct influence on the musculoskeletal system. In view of the reportedly high numbers of playing-related health problems in professional orchestra players, more research should be carried out to examine in detail possible effects of body awareness on instrumental sound and on psychological and physical well-being.

La crise lie la COVID-19 n'a pas pargn le monde de l'ducation, et les tablissements scolaires ou universitaires -y compris les tablissements suprieurs de musique -ont d repenser leurs modalits d'enseignement. Les professeurs de musique ont mobilis les outils numriques mis leur disposition pour poursuivre leurs tches de formation.

Formation et profession 26(3), 2018 3 sum Cette recherche, conduite dans une Haute cole suisse de musique lors de la mise en place d'un nouveau dispositif de formation pour le master en pdagogie instrumentale et vocale, vise mettre en vidence les conceptions des acteurs concerns (tudiants-stagiaires, professeurs de pdagogie, didacticiens et matres de stages) relatives aux pratiques, postures et rles de l'accompagnement. Les donnes rcoltes par entretiens et focus groups ont fait l' objet d'une analyse catgorielle de contenu mixte. Les rsultats permettent de comprendre les liens existants entre les conceptions, le contexte institutionnel, la plateforme utilise et la forme de l'accompagnement (bilatral, multilatral ou partag) actualise par les acteurs.

Assuming live music can foster belonging in the workplace, this study linked companies in the secondary and tertiary sectors with the world of music performance. Specifically, students from a Swiss music university offered live mini-concerts (10 min of classical music) on the premises of three companies over a period of 3 months. To analyze the impact of these brief musical interventions on the sense of belonging of staff in these companies, a mixed methods approach was adopted using a standardized questionnaire (Barcelona Music Reward Questionnaire, a short online questionnaire on the appreciation of the music and the emotional state induced, and focus groups interviews at the end of the experiment). The short concerts were much appreciated. On the individual level, they led to a greater sense of pleasure and were perceived as a break, a possibility to connect to one's emotions and above all, as a "moment for oneself." On the group level, the short concerts allowed the members of teams to meet, prompted conversations and new ways of sharing, created links, and offered opportunities to get to know work colleagues differently and to discover them on a more personal level.

The efficacy of music for healing psychiatric patients is a well investigated area of research. Often, soothing background music is run and improvement in patients' conditions monitored. It is believed that instead of a general soothing music, if the patient could have the privilege to select music to her/his own choice at that very moment, it would enhance many times the healing effect. On the other hand, as interacting with violent psychiatric patients is often impossible or even dangerous, it is tricky to extend the privilege that would enable patients to select themselves the pieces of music they want to listen to. In this research, we put forward several technical solutions, evaluated them, and finally came up with an effective solution. The core idea of the proposed user aware interface could be extended to other similar situations, like prison.

The importance for an athlete to control emotion has been widely accepted. However its measurement is still a difficult task. World Archery, an international federation, along with Tabrasco Ltd, wanted to measure the heart rate of their athletes, to help TV viewers understand the inner state of an athlete during main competitions. We present here this adventure, which resulted in having heartbeat measurements during world cup competitions, using a non-invasive technique, embraced by the athletes.

This research project focuses on the legacy of Veda Reynold's violin pedagogy . She has been the teacher of many today virtuosos (e.g.

Corpora show that people are less original in using language than is generally believed. We routinely employ an immense repertoire of semi-preconstructed phrases, though we also adapt them: creative extensions and adaptations of institutionalized locutions sometimes occur more frequently than the ordinary form. Corpora also reveal that fiction uses verbal idioms rarely found in other forms of writing or in conversation, which suggests that novelists draw on their own experience of stereotyped fictional dialogue more than on real-life conversation. Oral epic poetry, from Homer to Beowulf , was, of course, also formulaic, but the received view is that written poetry should be quite the opposite: it should consist of new combinations of words. While it is easy to find poetry that does contain fixed expressions and poetic transformations of them, such as the ‘conversational’ (and occasionally prosaic) poetry of Wordsworth, Frost, Auden and McDiarmid, it is harder to argue that the poetry of Shakespeare, Donne, Shelley, Keats, Hopkins, Stevens or Ashbery is made up of formulaic language. Conversely, however, it can be shown that canonical poetry is the source of hundreds of phrases in our active verbal lexicons.

L’augmentation des problèmes socio-éducatifs a conduit les autorités scolaires du canton de Fribourg (Suisse) à promouvoir une loi qui institue la présence de travailleurs sociaux dans les écoles obligatoires. Cet article décrit leur profil, examine leurs responsabilités, leurs activités et les rapports qu’ils entretiennent avec les acteurs présents dans et hors cadre scolaire. Les données sont analysées à l’aune du modèle de l’identité professionnelle de Donnay et Charlier (2008) et mettent en évidence la diversité des profils, des contextes et des situations dans lesquelles s’insèrent les professionnels. Elles soulignent la nécessité de voir les travailleurs sociaux comme des personnes capables de s’ajuster à la diversité des besoins des uns et des autres.

International audience

Depuis 2012, une équipe alliant sciences infirmières, psychologie, sociologie et ingénierie réalise une recherche-action sur le développement et l’impact d’un dispositif d’écoute musicale dans les chambres de soins intensifs d’hôpitaux psychiatriques suisses et français. Conçu comme un exercice autoréflexif, cet article retrace la genèse de cette recherche-action afin d’en révéler la fabrique et les coulisses. Il rapporte comment le projet s’est concrètement déroulé, avec ses réussites, ses défis et ses difficultés. À terme, il s’agit de soulever les principaux enjeux au coeur de la recherche et ainsi d’interroger les conditions de possibilité des recherches-actions, notamment lorsqu’elles se déroulent en milieu hospitalier et en psychiatrie.

To what extent can engineering be put to the use of psychiatry? Can a smart musical device help relieve patients with serious psychiatric pathologies during seclusion? With a view to answering these questions, a musical device called AMENHOTEP was developed in 2014 in line with the safety standards of seclusion rooms in the intensive care units (ICUs) of psychiatric hospitals [1] and validated in Switzerland and France by the Patient Safety Officers. The device is designed to withstand the physical outbursts of patients, which can be extremely violent. It consists of two interactive platforms, one placed in an ICU, the other in the caregivers' room. It allows the patient to choose to play one of four categories of music, each associated with a particular emotion: joyful activation, calm, nostalgia, tension. A first study, with qualitative results presented in [4], involved 12 weeks of interviews with the six caregivers [N1-6] of the five patients [P1-5] who were placed in an ICU equipped with the music installation. With the aim of highlighting the first, a second study was conducted in 2017 on eleven patients [A111] exclusively on the basis of measurements related to the use of the device. Since this is not the same sample of patients, this perspective should be interpreted with the utmost caution. The device has a simple and ergonomic interface, which allows patients to make choices and take decisions, a mechanism that naturally helps them regain control of themselves. It is also a tool to promote the patient-caregiver relationship, through the interest generated in listening, the musical choices of the patient and the reasons underlying those choices.

International audience

Pang donglai Business Group is a regional retail enterprise. The main purpose of this article is to analyze the situation of the Pang donglai Business Group in the local market, find the main reasons why the group cannot expand, analyze the group's disadvantages and provide solutions. Propose specific strategic management strategies for the development of the group to help the group achieve better development, and also provide solutions and reference examples for local enterprises that encounter similar situations or have corresponding problems. By researching and comparing the strategies of other retail companies, and analyzing Pang donglai's corporate values, the authors point out that regional retail enterprises need to have clear goals and positioning to target corresponding customer groups in the current market environment to compete with foreign and large domestic chain retail groups. Combined with the local business environment, strengthen trade relations with farmers, abandon customer groups in first-tier cities, and develop markets in rural areas.

Il est courageux de publier aujourd’hui un livre d’histoire de l’ethnographie. Et l’on est tenté d’écrire qu’il est héroïque d’en publier un en français sur des ethnomusicologues allemands en activité il y a plus d’un siècle. Il ne faut toutefois pas prendre l’ouvrage d’Isabelle Kalinowski pour un désuet opuscule érudit qui viendrait compléter sur une étagère le volume manquant d’une histoire universelle de l’anthropologie musicale. La mélodie du monde est d’abord un livre qui invite à pense...