How arts engagement supported social connectedness during the first year of the COVID-19 pandemic in the United Kingdom: findings from the HEartS Survey.

OBJECTIVES: This study investigated how adults in the United Kingdom perceived their arts and cultural engagement to facilitate social connectedness over two phases in the first year of the COVID-19 pandemic. STUDY DESIGN: The study used the HEartS Survey, a newly designed online survey tool to capture arts engagement in the United Kingdom and its associations with social and mental well-being, over two phases in 2020: March to May (Phase 1) and October (Phase 2). METHODS: Qualitative data were provided at both phases by 581 respondents, who identified which arts and cultural activity they felt most connected them to others and how during the last month. RESULTS: Thematic analysis revealed that, at both phases, arts and cultural engagement was perceived to facilitate social connectedness through four pathways that were also identified prepandemic: social opportunities, sharing, feelings of commonality and belonging and collective understanding. The subthemes shed light on specific ways that respondents used the arts during the pandemic to connect with others, including using the arts: as a catalyst for conversations, to maintain, reinstate or strengthen relationships during social distancing and to facilitate social interactions (Theme 1); to bring people together through shared experiences and sharing of art (Theme 2); to elicit feelings of direct and indirect proximity to others, to connect people with common interests, to feel a sense of belonging to something and to feel part of a collective 'COVID-19 experience' or to feel collectively distracted from the pandemic (Theme 3); and to learn from and about other people and to relate to others (Theme 4). The activity most frequently cited as connecting was watching a film or drama, followed by listening to recorded music. CONCLUSIONS: Engagement in arts and cultural activities supported feelings of social connection among adults in the United Kingdom over two phases in the first year of the COVID-19 pandemic, highlighting the importance of access to the arts and culture to support social connectedness.

Sensorimotor reorganization by proprioceptive training in musician's dystonia and writer's cramp.

OBJECTIVE: The sensorimotor organization (SMO) of the motor hand area is abnormal in focal hand dystonia and likely contributes to symptom manifestation. In healthy subjects SMO is changed by training with proprioceptive stimulation. Here we test whether similar interventions reverse the abnormal SMO in musician's dystonia and writer's cramp. If so, they could be developed for therapeutic application. METHODS: In six non-musicians, six professional musicians, six patients with musician's dystonia, and six patients with writer's cramp, SMO was explored by measuring changes in short-interval-intracortical-inhibition (SICI) during short periods of hand muscle vibration before and after two training types: AttVIB, involving attention to 15 minutes vibration of the abductor pollicis brevis (APB); and AttIndex, involving attention to subtle cutaneous stimulation of the index finger. RESULTS: In healthy non-musicians, baseline SMO is spatially differentiated: SICI is reduced in projections to the vibrated, but enhanced to the non-vibrated muscles. Here AttVIB increased and AttIndex reduced the effect of subsequent APB-vibration on SMO. In healthy musicians, baseline SMO is less differentiated. AttVIB reinstated a more differential SMO pattern while AttIndex attenuated the effect of APB vibration. In focal hand dystonia, SMO is completely dedifferentiated. AttVIB tended to restore a more differential SMO in musician's dystonia but not in writer's cramp while AttIndex failed to induce any changes in both groups. CONCLUSION: The intervention effect depends on the pre-interventional sensorimotor organization (SMO). In focal hand dystonia, particularly in musician's dystonia, it is possible to retrain an abnormal SMO toward a more differential pattern, which has potential implications for therapy.

Quantity and quality of musical practice as predictors of performance quality.

Twenty-two pianists, classified into four levels of skill, were asked to learn and memorize an assigned composition by J. S. Bach (different for each level). All practice was recorded on cassette tape. At the end of the learning process, the pianists performed their composition in a recital setting. The resulting performances were evaluated by three experienced piano teachers. From the cassette tapes, values for the quantity of practice were obtained. These values were compared across all four levels of skill and examined to reveal whether they were related to quality of performance. The analyses indicate that the standard deviations of the amount of time spent in each practice session increased systematically with level of skill and that pianists at higher levels spent more time in each practice session. Quantity of practice, however, was not significantly related to quality of performance. Rather, pianists who employed longer practice segments by the middle stage of practice produced better musical, communicative and technical performances. These findings stand in defiance of the argument that quantity of practice is the fundamental determinant of the quality of performance. Instead, they suggest that the content and quality of an individual's practice must be examined when investigating the determinants of musical skill.