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We addressed how circadian rhythms influence daily musical activities of performing musicians, who exhibit fine temporal control. Music performances often occur in the evening and late at night; evidence suggests that composing musicians tend to be later chronotypes than non-composing musicians. However, chronotype and daily music-making in performing musicians have yet to be investigated. The current study examined chronotype in actively practicing and/or performing musicians and non-musicians, and whether it was related to the daily timing of music performance. To test influences of daily changes due to the global COVID-19 pandemic, disruptions to musical, athletic, social, and sleep habits were also measured. Performing musicians, active (practicing but non-performing) musicians, inactive musicians, and non-musicians, residing in Canada, completed a 7-day online daily activity and sleep diary in Summer 2020. There were more evening chronotypes than morning chronotypes in the sample. Active/performing musicians tended to be earlier chronotypes than all other groups. Musicians' chronotype, but not nightly sleep timing, predicted the time of day that musicians made music: Late chronotypes made music later in the day and early chronotypes made music earlier in the day. Music performance and practice amount decreased during the COVID-19 period, but the daily timing of these activities did not change. All participants reported later sleep onset during the COVID-19 period; the amount of social interaction decreased during the COVID-19 period, while exercise increased for some and decreased for others. No changes in the daily timing of exercise, social interaction, or morning wake-up were reported. These findings suggest that performing musicians may be slightly earlier chronotypes than non-performing musicians and non-musicians, despite music performances often occurring in the evening. Chronotype was related to the time of day of music-making independent of nightly sleep timing, suggesting that times of day for making music reflect an individual's circadian rhythm. [ABSTRACT FROM AUTHOR]

The purpose of the article is to highlight the basics of the work of the drum majors in the military orchestra of Canada and the United States of America and compare them with the relevant principles in the Armed Forces of Ukraine, as well as to determine the positive experience of these foreign countries to improve Ukrainian music practice. The research methodology involves the use of systematic and comparative methods. This combination of methods allows us to consider the basics of the drum majors in the military orchestras of Ukraine and individual foreign countries in order to obtain a holistic vision of their work, as well as identify commonalities and differences in the functioning of Ukrainian and foreign drum majors. The scientific novelty is that for the first time a comparative constructive study of the work of the drum majors in the military orchestras of Ukraine, the United States of America, and Canada; the leading aspects for their introduction into the activity of Ukrainian military orchestras are singled out. Conclusions. The activity of the drum major in the military orchestras of the United States of America, Canada, and Ukraine has a number of common and distinctive features. It seems appropriate to propose approval of methodological recommendations on the management of military orchestras with drum major maces at the level of the leadership of the Armed Forces of Ukraine, to determine the design of drum major maces for different units of the Armed Forces of Ukraine and to improve the methods of controlling the orchestra on the spot. Such measures, in our opinion, will help to optimize the system of training of the military conductors and activities of the military orchestra service of the Armed Forces of Ukraine. [ABSTRACT FROM AUTHOR]