Performing Arts Aerosol Study

I listened in to a webinar from New Jersey. The preliminary results from a research by the University of Colorado were released. The  full presentation can be seen here. https://www.nfhs.org/articles/unprecedented-international-coalition-led-by-performing-arts-organizations-to-commission-covid-19-study/

Singing  and recorder data will be released by the end of the month.

So far the preliminary suggestions for some wind and brass instruments are. More tests are being done

Masks should be worn by all students and staff prior to entering the performing arts room. Masks should continue to be worn until all students are seated and ready for instruction (example, long rests, sectional work, moving around the room, etc.)

No talking should occur in the room without a mask being properly worn.

When possible a mask with a small slit for mouthpiece access should be worn while playing.

In instrument groups where a mask cannot physically be worn the mask should be worn over the chin and replaced during periods where the student is not playing. No talking without a mask.

Social distancing should occur as suggested by the CDC.(Centre for Disease control ) Currently that distance is a 6×6 foot space around each student with the student sitting in the center. This may reduce the number of students that can fit in a performing arts classroom. Straight lines should be used as curved setups can affect the aerosol movement in a room.

Students should sit all facing the same direction, back to front to minimize potential exposure.

Trombones should have an additional three feet of distancing making their space 9×6. The player should be seated three feet in front of the back line, leaving an additional six feet in front of them due to the extended nature of the instrument and slide that can be in extended position.

Spit valves should not be emptied on the floor. Recommend using a puppy pad (or similar) to catch the contents of the spit valve and discard.

Masks and nylon bell coverings all reduce particle concentration

Published by askrichardarts

Recently retired (September 2019) after a 42 year career in Music and Arts Education I am an experienced arts educator specialising in school leadership and all aspects of arts education but with particular expertise in music and music education. From 2011 - 2019 I was Music and Arts Strategy Manager in South Gloucestershire leading the South Gloucestershire Music Hub, Arts Council England’s preferred provider of Music Hub activities in South Gloucestershire. Always regarded as a minor risk organisation it provided teaching and ensemble activities to over 4000 children a week and many ensembles achieved national recognition at the Music for Youth Proms and National Festival. From 2005 to 2011 I was National Specialist Coordinator for Performing Arts and Music at the Specialist Schools and Academies Trust effectively a national adviser on arts education contributing to many national initiatives e.g. Music Manifesto, Musical Futures, Henley Review of Music Education, and Building Schools for the Future. I also provided curriculum support and professional development to over 600 schools in England and in 2010 gave a keynote speech on Music Education in the UK at Gifu University in Japan. The bulk of my teaching career was at Richmond School in North Yorkshire where I led a highly successful Music Department with over 300 students a week learning musical instruments and large classes at GCSE and A level. I commissioned a number of works for School Wind Band by composers such as Bill Connor, Adam Gorb and Philip Wilby and developed UK and Worldwide commissioning networks to commission works by Christopher Marshall and Marco Putz. As an adjudicator I have worked throughout the UK, in the Netherlands, Australia and the USA and Canada. In retirement I am a Trustee of the Music Education Council ,Independent Chair of the Music Hubs in Somerset and Torbay , and a doctoral student at the University of the West of England.

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