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.

For music students, the COVID-19 pandemic has had a great impact, forcing them to adapt to certain coronavirus regulations laid down by the state. In this study, the experiences of music students in three consecutive semesters under different coronavirus-related conditions are investigated. At the end of three semesters, the lockdown semester [SS (Summer Semester) 2020: April – July], a partially opened semester [WS (Winter Semester) 2020/21: October – February] and a mostly opened semester (SS 2021), a total of 152 music students at the University of Music Freiburg were asked to fill in an online survey. A mixed-methods approach was used, with results showing that the qualitative statements of the students support the quantitative data. The results of the cross-sectional study demonstrate that self-regulated learning improved during the lockdown semester, through new time management and focused practice with regular breaks. During the partially opened semester, the use of blended learning formats led to organizational problems, such as travel time and change of locations. Furthermore, music students were challenged by the social distancing, which improved during the partially opened, and mostly opened semester. New technologies regarding digital communication formats were emerged, which have evolved over the course of the three semesters. Concerning the overall experience, students stated that the partially-opened semester was most challenging, since distances and change of locations had to be combined with quickly changing public COVID-19-regulations. These findings during different stages of the COVID-19 pandemic provide constructive starting points for future teaching.

1. Since the Covid-19 virus spreads through airborne transmission, questions concerning the risk of spreading infectious droplets during singing and music making has arisen. To contribute to this question and to help clarify the possible risks, we analyzed 15 singing scenarios (1) qualitatively – by making airflows visible, while singing – and (2) quantitatively – by measuring air velocities at 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 style) 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, while only direct voiceless blowing achieved measurements at the 2m sensor. Singing styles that use plosive sounds, i.e. using consonants more often as in 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 CO□ 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.