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Relevant bibliographies by topics / Musicians in art

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Academic literature on the topic 'Musicians in art'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 August 2024

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Journal articles on the topic "Musicians in art"

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Nörholm Lundin, Anna. "Maestro! Yrkesmusikers sociala praktik, relativa framgång och habitus." Praxeologi – Et kritisk refleksivt blikk på sosiale praktikker 1 (January 1, 2019): e1566. http://dx.doi.org/10.15845/praxeologi.v1i0.1566.

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Maestro! The social practice, relative success and habitus of professional musiciansIn art music the Maestro is an important figure. The Maestro is an outstanding musician and teacher at one of the prestigious music colleges in Sweden. To be admitted as a student of a Maestro is to be granted access to the atrium of music. However, this is no guarantee of actually succeeding as a musician. Who is the Maestro? Which social practice is the Maestro part of, and which social practice is he/she maintaining? Who achieves a position as an outstanding musician, and what is required to hold such a position? The empirical material consists of three in-depth interviews with central musicians and teachers at the prestigious music colleges, which is used to reconstruct their positions and dispositions. The relative success of the musicians is understood in relation to the concept of habitus and in relation to a profession in transformation. Keywords: Maestro, musicians, social practice, habitus, relative success

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School, Veronika, and Amélie Zosso. "“You Cannot Perform Music Without Taking Care of Your Body”: A Qualitative Study on Musicians’ Representation of Body and Health." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 129–36. http://dx.doi.org/10.21091/mppa.2012.3024.

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OBJECTIVE: To identify professional musicians’ representation of health and illness and to identify its perceived impact on musical performance. METHODS: A total of 11 professional musicians participated in this phenomenological study. Five of the musicians were healthy, and the others suffered debilitating physical health problems caused by playing their instruments. Semi-structured interviews were conducted, transcribed verbatim and analysed. Thematic analysis, including a six-step coding process, was performed (ATLAS-ti 6). RESULTS: Three major themes emerged from the data: music as art, the health of musicians, and learning through experience. The first theme, music as art, was discussed by both groups; they talked about such things as passion, joy, sense of identity, sensitivity, and a musician’s hard life. Discussions of the second theme, the health of musicians, revealed a complex link between health and performance, including the dramatic impact of potential or actual health problems on musical careers. Not surprisingly, musicians with health problems were more concerned with dysfunctional body parts (mostly the hand), whereas healthy musicians focused on maintaining the health of the entire person. The third theme, learning through experience, focused on the dynamic nature of health and included the life-long learning approach, not only in terms of using the body in musical performance but also in daily life. CONCLUSIONS: The centre of a musician’s life is making music in which the body plays an important part. Participants in this study evidenced a complex link between health and musical performance, and maintaining health was perceived by these musicians as a dynamic balance. Our results suggest that learning through experience might help musicians adapt to changes related to their bodies.

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Umam, Khothibul, and Gregorius Tri Hendrawan Manurung. "Merchandise and Memorabilia: Between Art Products, Self-Image, and Musicians Existence." E3S Web of Conferences 359 (2022): 02019. http://dx.doi.org/10.1051/e3sconf/202235902019.

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This study aims to examine three merchandise of Semarang bands/musicians, namely Soegi Bornean, Pyong-pyong, and Vice Versa. The method used is a Sociology of Art approach with a focus on the production and distribution of works of art. The data of this research is the result of observations on the unique side of the merchandise production of Soegi Bornean, Pyong-pyong, and Vice Versa. The data collection method used is in-depth observation. The observation method is used to cover data related to the production and distribution of merchandise. The analytical method used in this study is to examine the extent to which merchandise has an effect on the musicians, both artistically and in terms of market advantages. The results of this study indicate that the unique merchandise of musicians has a great influence from the artistic side, sales profits, self-image, and the existence of the musician.

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Andika, Wirvan, and Esy Maestro. "PEMUSIK JALANAN STUDI DESKRIPTIF PEMUSIK JALANAN DI DAERAH PULAI LUBUK MINTURUN KOTA PADANG." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 425. http://dx.doi.org/10.24036/jsu.v9i2.110594.

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This research aims to find and describe Rian's activities as one of the street musicians in Padang City. This type of research is Qualitative Research. The main instruments in the study were researchers themselves and assisted with supporting instruments such as stationery, recording devices and cameras. Data collection techniques are carried out by observation, interview, library study and documentation. The steps to analyze the data are to collect data and describe the data and draw conclusions. The results showed that there are still many lay people who think street musicians or worshippers are interfering with comfort and even being indifferent to them. Street musicians or performers are a profession run by art actors or art workers who display and sell their talents to the public. They're not beggars or anything like that. They are the perpetrators of art who are on the streets, they are arguably disadvantaged because of weak economic factors and forcing them to express themselves on the streets. They should get better treatment and apresization from society in general, because there are still many people who have talent and are very much worthy of our appreciation, because with the appreciation that we give can support their livesKeywords: street musician, descriptive study of street musicians

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Pratt, Emily, Henning Vauth, Gary McIlvain, and Mark K. Timmons. "Musicians Have Thicker Median Nerve Cross Sectional Area and More Symptoms of Carpal Tunnel Than Non-Musicians." Medical Problems of Performing Artists 35, no. 3 (September 1, 2020): 138–44. http://dx.doi.org/10.21091/mppa.2020.3023.

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AIMS: Musicians spend numerous hours perfecting their skills and art, often leading to overuse injuries of the hand; of specific concern to musicians is carpal tunnel syndrome (CTS). This study evaluated the median nerve cross-sectional area and hand function of musicians and made comparisons to non-musicians. METHODS: Seventy-six participants took part in the study, 38 music students and professors in the musician group and 38 participants in the control group. Participants completed patient-reported questionnaires to assess the level of pain and hand function. Ultrasound images were collected at the carpal tunnel inlet and outlet. The median nerve cross-sectional area and the depth of the carpal tunnel were measured on ultrasound images using software imbedded in the ultrasound unit. RESULTS: Musicians showed higher levels of hand dysfunction and CTS symptoms than the non-musicians. The median nerve cross-sectional area was greater in musicians than in the non-musician group on both the right (mean difference 1.5 mm2, p=0.002) and left sides (mean difference 0.9 mm2, p=0.036). The depth of the carpal tunnel at the carpal tunnel inlet and outlet did not differ between the groups (p>0.05). CONCLUSION: The current research identified between-group differences in median nerve cross-sectional area and the level of hand dysfunction. Understanding the interaction between the anatomy of the wrist and wrist and hand dysfunction will benefit clinicians when evaluating and treating musicians.

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Navei, Nyamawero. "The Lioness of African Music: Cultural Interpretation of Wiyaala’s Stage Costume Art." International Journal of Cultural and Art Studies 7, no. 1 (April 30, 2023): 49–63. http://dx.doi.org/10.32734/ijcas.v7i1.10463.

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In stage performance, costume art is an essential visual signature device with the veracity to unveil the character and cultural identity of the performer. Stage costume art could also be deployed to respond to pertinent societal issues. In spite of its versatile essentiality in performing arts, there seems to be a dearth of scholarly interpretation of stage costume art of Ghanaian musicians, thereby creating a knowledge gap. This qualitative case study makes a hermeneutical interpretation of eight random-purposively sampled stage costumes of Wiyaala (a Ghanaian female musician) to establish their cultural symbolism. The study found Wiyaala not only an iconic Ghanaian artiste but an internationally recognised musician who toured many countries across Africa, Europe, the Americas, and other continents for musical stage performances. It emerged that Wiyaala’s stage costumes were locally self-constructed, and ably reflected the uniquely versatile indigenous African (Ghanaian) dress cultural identity in respect of African (Ghanaian): royal dress fashion, war costumes, initiation costumes, and others. Wiyaala could be said to have prioritised interest in using her locally sourced stage costume art to promote and preserve indigenous African (Ghanaian) dress cultural identity. Since Wiyaala is an iconic musician, she is encouraged to continue deploying locally sourced costume art for her stage performances to promote and preserve African (Ghanaian) dress cultural identity for posterity. This tends to decolonise the stage costume choice of many Ghanaian musicians with its cascading impact on the Ghanaian textile and fashion industry for economic and job gains.

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Massetti, Gemma, Carlotta Lega, Zaira Cattaneo, Alberto Gallace, and Giuseppe Vallar. "Exploring the Effects of Brain Stimulation on Musical Taste: tDCS on the Left Dorso-Lateral Prefrontal Cortex—A Null Result." Brain Sciences 12, no. 4 (March 31, 2022): 467. http://dx.doi.org/10.3390/brainsci12040467.

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Humans are the only species capable of experiencing pleasure from esthetic stimuli, such as art and music. Neuroimaging evidence suggests that the left dorsolateral prefrontal cortex (DLPFC) plays a critical role in esthetic judgments, both in music and in visual art. In the last decade, non-invasive brain stimulation (NIBS) has been increasingly employed to shed light on the causal role of different brain regions contributing to esthetic appreciation. In Experiment #1, musician (N = 20) and non-musician (N = 20) participants were required to judge musical stimuli in terms of “liking” and “emotions”. No significant differences between groups were found, although musicians were slower than non-musicians in both tasks, likely indicating a more analytic judgment, due to musical expertise. Experiment #2 investigated the putative causal role of the left dorsolateral pre-frontal cortex (DLPFC) in the esthetic appreciation of music, by means of transcranial direct current stimulation (tDCS). Unlike previous findings in visual art, no significant effects of tDCS were found, suggesting that stimulating the left DLPFC is not enough to affect the esthetic appreciation of music, although this conclusion is based on negative evidence,.

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Denny, Walter. "Music and Musicians in Islamic Art." Asian Music 17, no. 1 (1985): 37. http://dx.doi.org/10.2307/833740.

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Ahlquist, Karen. "Playing for the Big Time: Musicians, Concerts, and Reputation-Building in Cincinnati, 1872–82." Journal of the Gilded Age and Progressive Era 9, no. 2 (April 2010): 145–65. http://dx.doi.org/10.1017/s1537781400003911.

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Like many midwestern cities in the nineteenth century, Cincinnati, Ohio, was home to large numbers of German immigrant musicians, among them the founders of the Cincinnati Grand Orchestra in 1872. Their model of musician-based organization eventually ran counter to the prestige-building potential of Western art music, which made it attractive to local civic leaders determined to earn respect for their city at a national level. The successful Cincinnati May festivals beginning in 1873 under the artistic leadership of conductor Theodore Thomas brought the city the desired renown. But the musical monumentality needed for large festival performances could not be obtained locally, leaving Cincinnati's players with opportunities to perform at a high level but without a way to define their performance as a significant achievement in the world of high art. Although their orchestra was ultimately unsuccessful, however, these musicians demonstrated an agency that transcends their historical obscurity and helps incorporate aesthetic and practical aspects of institution-building into the social arguments common to discussions of Western art music in the United States.

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Ovchar, О. P. "V. O. Bohdanov – an outstanding researcher of the history of wind art in Ukraine: his life and creative career." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 8–23. http://dx.doi.org/10.34064/khnum1-54.01.

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Background. The question of a comprehensive assessment of certain musicians’ work has both artistic and aesthetic, sociocultural, and ethical projections associated with the evaluation of the creativity and activity of the musician both during their lifetime and after their passing. This issue also continues to be acutely relevant in the area of studying and shaping the scope of cultural knowledge about traditions and innovations in all spheres of musical art, about the role of an individual in the historical and cultural process both in the national and in the civilizational, globalizational aspects. Another important aspect is the study of one’s own cultural traditions and achievements (at the national, regional and other levels.), which makes it possible to reveal something universal and particular in all areas of musical practice (composition, performance, teaching, etc.) and give them an objective assessment. In this connection, musicians – our contemporaries, whose achievements are diverse and very significant in the musical field and whose versatile contribution to the development of musical art cannot be overestimated, – need special public and scientific attention. One of such outstanding figures of modern Ukraine is Valerii Bohdanov (13/07/1939–10/10/2017), a trumpet performer, conductor, teacher, musicologist, who devoted his whole life to music art in its various manifestations, achieved the highest results in all spheres of activity and went down in the history of Ukrainian musical art as one of the rare examples of a universal musician. His performance, conducting, pedagogical, and research activities in the field of wind instruments performance are so significant that they require a complex study, which as yet does not exist, and this paper seems to be one of the first steps on this path. Objectives. The purpose of this paper is to evaluate the life and career of the outstanding musician Valerii Bohdanov from the viewpoint of his contribution to the study of the history of wind performance in Ukraine. Methods. This paper employs a complex of several research methods related to the statement of the theme and its specificity: historical method, which allowed considering facts from life and work of V. Bohdanov in relation to the peculiarities of historical conditions of the time; historical and cultural method, thanks to which one can take into account the general context of music art, in particular, events and phenomena of musical practice within certain conditions of national culture, traditions and possibilities, specified amongst others at the ideological level; biographical method of research, due to which different periods of the musician’s creativity, directions of his activity, as well as their prerequisites, development paths and results are described; comparative method, associated with the comparative characteristics of stages and tendencies of Valerii Bohdanov’s work in different periods of his life; phenomenological method, featuring characteristics of unique interaction of various facets of the universal musician – the artist of music art. Results. The versatile activity of V. Bohdanov, a prominent musician, performer, conductor, teacher, researcher of the history of wind art in Ukraine, is distinguished by a special degree of interrelation of these spheres, which indicates the special quality of the universalism of Valerii Oleksandrovych’s personality as a phenomenon. According to the outlined and characterized areas of the musician’s activity all his achievements are determined, firstly, by the peculiarities of different periods of his life and career, historical circumstances and certain artistic experience, and secondly, by his personal qualities. The research and pedagogical activity of V. Bohdanov is one of the peaks of his multifaceted activity and the embodiment of the true mission, which combined the talent and experience of the practising musician, performer and conductor with pedagogical, scientific and educational work to the extent that allows speaking about a special status of a universal musician – a worker of musical art. An individual feature of V. Bohdanov’s universalism is that, being a practising musician, performer and conductor, he achieved the highest results in the scientific field, made an invaluable contribution to the study of the history of wind performance in Ukraine. Conclusions. The research findings indicate that Valerii Bohdanov’s activity is distinguished by the diversity and special status of universalism; its various facets are not just interconnected, they are interdependent and, thanks to a complex of personality characteristics, have become the basis for the outstanding result that was achieved by the musician. At the same time, the scientific side of Valerii Bohdanov’s work, dedicated to the history of wind instrument performance in Ukraine, has become a kind of pinnacle of his creative and life journey. Based on the aforesaid, we believe that the results of the presented research can be used in further scientific research related to such issues as: the study of Valerii Bohdanov’s research, performance, conducting, and pedagogical activities, as well as the work of other musicians, representatives of the wind music art of Ukraine; the characteristic of wind instruments performance schools; the search for answers to the questions faced by modern wind instruments performance, in particular, in the context of tradition and innovation, organology, genre-stylistics, repertoire, etc.

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Dissertations / Theses on the topic "Musicians in art"

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Gaines, Adam W. "Work of Art : the life and music of Art Farmer." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.

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Gillette, Amy Elizabeth. "Depicting the Sound of Silence: Angel-Musicians in Trecento Sacred Art." Diss., Temple University Libraries, 2016. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/397051.

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Art History
Ph.D.
The effusion of music-making angels in medieval art stood in opposition to the fact that in Scripture, angels did not perform music, and to contemporaneous beliefs that they were both bodiless and silent. This rupture between signification and idiom suggests that angel-musicians were more than passive symbols of “concelebration,” the idea that angels and humans performed the liturgy in concert with one another. I propose a synthetic account of their meanings and functions, focusing on Trecento Tuscany as a place where diverse artistic modes and devotional practices blended and clashed. Because the medieval Church evolved images and rituals based on the notion that angelic ministry was exemplary for human practice, I have organized my chapters around four key precepts of angelology: the angels’ liminality, operations in the aesthetic realm, ideal enactment of the liturgy, and multiplicity. Considered in these terms, images of angel-musicians effected the presence of actual angels in order to entice human viewers into joining their liturgy mystically, an act of profound spiritual benefit. This contention is predicated on the beliefs that although angels were technically ineffable, they were also able to traverse the divide between heaven and earth. By mediating the sensible and suprasensible, the images achieved their goal by facilitating individual acts of contemplation; by aestheticizing the spiritual sweetness of angels’ song; by modeling the angels’ roles as co-worshippers, ministers, and celestial assistants; and by proliferating in all types of sacred art, in which they were forces of active engagement that helped to “angelize” people’s mental worlds and ritual behaviors.
Temple University--Theses

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Maclean, Gavin. "Art versus commerce? : the works of musicians in the field of cultural production." Thesis, Heriot-Watt University, 2016. http://hdl.handle.net/10399/3104.

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Labour process theory has been a key resource for the sociological study of work for over four decades. Yet, labour process theory has been conspicuous by its absence from research into cultural labour (Banks, 2007; Dean and Jones, 2003; Hesmondhalgh and Baker et al., 2011). This thesis firstly examines value production and the dynamics of managerial control and creative autonomy within the recorded music industry. Acknowledging the weaknesses identified with “critical theory” approaches in failing to consider the “content” of cultural work (Banks, 2007; McKinlay and Smith, 2009), this thesis considers the art-commerce relation in terms of the interaction between identity, interests and habitus. The thesis draws on data collected from research participants active within the recorded music industry. The data collected consists of forty participants through thirty-one semi-structured interviews and secondary data from four group interviews. The original contribution to knowledge made by this thesis is to conceptualise the art-commerce relation in the recorded music industry as a conflict over potential exchange-value in terms of Bourdieu’s forms of capital. Empirical findings from this research show forms of managerial control consistent with responsible autonomy, simple control and bureaucratic control (Edwards, 1979; Friedman, 1977). Rather than control based on maximising economic surplus value, music companies seek to reduce uncertainties of converting objectified cultural capital produced in the labour process into forms of economic or symbolic capital. Control within the recorded labour process depends on forms of legitimate authority in terms of economic control of the labour process and “artistic authority” (Ryan, 1992) based on Bourdieu’s notions of cultural and symbolic capitals. The relationship between art and commerce is also considered through the interaction between artistic identity, conflicts of interests and a musical habitus. Artistic identity exists as an acted identity where musicians’ social identities are managed based on the levels of capital. The pursuit or possession of large amounts of economic capital acts as a stigma for which musicians engage in repair work (Goffman, 1968; Jenkins, 2014). Similarly, lack of cultural capital leads to impression management over how musicians identify themselves. Economic inequality of the musicians’ employment relationship is not seen as a key determinant of conflict. Rather it is compromise and a lack of autonomy that leads musicians to resist creative control. Musicians’ sense of self, and motivation to put up with low pay and poor conditions, is reflected by the internal drive to make music characteristic of an artistic habitus.

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Johnson, Abigail. "Hendrick ter Brugghen’s Musicians and the Engagement of the Viewer." Master's thesis, Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/461409.

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Art History
M.A.
Hendrick ter Brugghen (1588-1629), a Dutch Baroque painter, is known as one of the more prominent artists among the Utrecht Caravaggisti, so-named for the city in which he worked and as a follower of Caravaggio. The Caravaggesque style swept through Northern Europe during the cusp of the sixteenth and seventeenth centuries, and genre scenes of half-length figures could be found in every art fair and open market. The label of Utrecht Caravaggisti, however, is a limiting descriptor for ter Brugghen, who created works in response to the changing art market and tastes of a growing Dutch middle class, not motivated solely out of admiration for the Italian painter and his style. Hendrick ter Brugghen’s works featuring musicians at play are prime examples of how an artist in the competitive art market of the northern Netherlands engaged the viewer in a multitude of ways. With the rise of the middle-class merchants, professionals, and city officials, as well as the establishment of music and art academies, the subject of lower class musicians likely would have appealed to a range of buyers. Ter Brugghen’s use of half-length figures find their roots in earlier Dutch and Flemish artists, such as Hieronymus Bosch and Quentin Massys, who preceded Caravaggio in this type of composition by nearly a century, and certainly would have appealed to the market of a newly formed Dutch Republic seeking its own artistic lineage. Ter Brugghen employed allegorical themes and invoked a modern and vernacular variant of the pastoral mode in his string musicians, which would have been instantly recognizable to the learned buyer. In addition to engaging the viewer on a contemplative level, I shall argue that ter Brugghen’s musical compositions also enticed the viewer by activating his innate ideasthetic responses through visual cues and multisensory stimulation. By examining ter Brugghen’s musician paintings within the context and history of Dutch art production, we can more fully understand how his works engage the viewer so effectively and how they extend well beyond a dialogue with Caravaggio to assert his own inventiveness and modernity.
Temple University--Theses

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Kowalczyk, Beata Maria. ""Transnational" art world : career patterns of japanese musicians in the European world of classical music." Thesis, Paris 1, 2018. http://www.theses.fr/2018PA01E003.

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Toujours plus visibles sur les scènes occidentales de la musique classique, les musicien-ne-s japonais-e-s évoluant en Europe constituent un phénomène social intéressant. Adoptant deux perspectives complémentaires - celle des «mondes de l’art» et des trajectoires d’artistes d’un côté, et celle des mobilités et des migrations de travailleurs d’un autre -, cette thèse vise à examiner la construction des carrières artistiques des musicien-ne-s japonais en Europe étudiées comme des trajectoires «transnationales» de professionnel-le-s qualifié-e-s. Comment se fait-il que des personnes socialisées dans une culture particulière, déménagent dans un environnement socioculturel hétérogène pour étudier et construire leur vie professionnelle et individuelle à l’étranger ? Est-ce que leurs trajectoires nous permettent de les classer comme des « artistes cosmopolites » ? Ou bien la construction sociale de leur carrière ressemble-t-elle davantage à celle des «migrants»? L’analyse s’appuie sur un matériau de 50 entretiens semi-structurés conduits avec des musicien-ne-s japonais-e-s dans leur langue maternelle et 20 interviews/conversations menées avec des experts/informateurs. En comparant deux environnements très différents, la France et la Pologne, j’ai cherché à neutraliser l’impact que diverses idiosyncrasies environnementales, structurelles et socioculturelles peuvent exercer sur la dynamique des carrières de ces musicien-ne-s. En conclusion, l’examen des modes d’insertion dans l’éducation musicale mis en rapport avec l’origine sociale des répondant-e-s m’a amené à distinguer quatre profils professionnels : (1) les héritier-e-s professionnel-le-s, (2) les héritier-e-s des rêves parentaux, (3) les ancien-ne-s élèves de brass band et (4) les pratiquant-e-s avocationnel-le-s. En outre, le matériel recueilli au cours de mes recherches a montré que les carrières des musicien-ne-s japonais-e-s opèrent sur plusieurs niveaux et que la "transnationalité" supposée – que j’associe au concept de « double absence » de Sayad (1977, 1999) – a été conditionnée par une combinaison de différents déterminants sociaux (origines sociales, genre, spécialisation instrumentale, systèmes éducatifs et possibilité de conversion du capital ainsi que les politiques migratoires, les marchés du travail, ou encore les arrangements de l’État de providence). Ces éléments ont en effet largement influencé et, dans certains cas, fait dérailler les parcours professionnels étudiés
Japanese musicians arriving to Europe for the purpose of studies and work have become more and more visible in the context of classical art scenes, and they do not constitute a niche sample anymore. Combining two perspectives – that of the “art world” on the one hand and that of labour mobility and migration on the other, – this thesis examines the dynamics of Japanese musicians’ artistic careers establishing themselves in Europe in the context of “transnational” trajectories of skilled professionals. How do people, socialized in one particular culture, relocate to a disparate socio-cultural environment to study and then to build their professional as well as individual lives abroad? Shall these musicians be conceived of as “cosmopolite” artists? Or does the social construction of their careers bring them closer to “migrants”? This study is based on 50 semi-structured interviews conducted with Japanese musicians in their mother tongue as well as 20 interviews/conversations led with experts/informers. Comparing two substantially disparate environments, the French and the Polish ones, I aimed at distilling the impact that various structural as well as socio-cultural environmental idiosyncrasies have on career dynamics. In conclusion, examining modes of insertion into music education against the background of respondents’ social origins led me to distinguish four main career trajectories: (1) professional heirs; (2) inheritors of parental dreams; (3) brass band alumni and (4) avocational practitioners. Furthermore, the collected material unveiled that their careers are multilayered. Consequently, the presupposed “transnationality” – that I associate with Abdelmalek Sayad’s concept of “double absence” – has been conditioned by a combination of various social factors (i.e., social origins, gender, specialization, education systems and the possibility of conversion of capitals be it social or cultural; as well as migration policies, labor markets or structure of the welfare state in the hosts societies), which largely influence, and in some cases, derail the studied professional paths

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Barnas, Adam J. "Emotional Responses Evoked by Paintings and Classical Music in Artists, Musicians, and Non-Experts." University of Dayton / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1417794794.

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Bougher, Heather A. "The Venetian Paragone: A Study of Titian’s Five “Venus and Musician” Paintings." Ohio University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1610037915548072.

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Sweat, Ashley Dawn. "What is the nature of the professional practice of artist-teachers? four case studies /." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-11172005-212321/.

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Thesis (M.A. Ed.)--Georgia State University, 2005.
Title from title screen. Paula P. Eubanks, committee chair; Melody Milbrandt, Joseph Peragine,Teresa Bramlette-Reeves, committee members. Electronic text (50 p.) : digital, PDF file. Description based on contents viewed May 29, 2007. Includes bibliographical references (p. 49-50).

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Fugazza, Lorenzo. "Methods to support guitarists to recover from injuries and/or maintain health." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3338.

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Musicians tend to suffer from a broad range of problematics related to their playing, from muscle/tendon injuries, to joint injuries, nerve compression disorders and central nervous system disorders. The purpose of this essay was therefore to explore methods used for health and wellbeing of guitarists. The research question was: Which actions are described to support guitarists to recover from injuries and/or maintain health? A qualitative approach was used to collect and analyse the data that were acquired through in-depth interviews and analysis of annotations of musicians who have been patients or were at the time of the interview been following a rehabilitation program in those centres. The analysis of the data produced eight common actions used by both the institutes. The result showed that there is a common ground between the two schools which could be a start for the development of further treatment strategies.

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Esslin-Peard, M. S. "The art of practice : learning through the looking-glass : understanding the musical learning of popular and classical undergraduate musicians based upon their reflections about their experiences of a UK university performance course." Thesis, University of Liverpool, 2017. http://livrepository.liverpool.ac.uk/3008704/.

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Much has been written in the last 30 years about musical practice and performance, but there is little consensus over what practice really means, or how musicians progress by practising. Researchers tend to focus on specific elements in practice rather than taking a more holistic perspective. Whilst academics historically focused on (primarily Western) classical musicians, more recent research has focused upon popular, jazz and folk musicians, drawing on formal and informal learning models. This research project at the University of Liverpool focuses on the practice and performance experiences of both popular and classical undergraduate musicians as described in students’ reflective essays, acquired through informed consent. The method of assessment, combining 70% of marks for performance and 30% of marks for the reflective essay is, as far as can be ascertained, unique in comparable higher education institutions. The research questions address the roles of practice, performance and reflection in musical learning: • What experiences of practice and performance do the students describe in their reflective essays? • Do students develop an understanding of their practice and performance behaviours through their reflective essays? If so, how? • What role does reflection play in musical learning? Musical learning takes place not only through individual practice, but also in ensembles and bands, supported by feedback from tutors and peers and is firmly situated in the socio-cultural environment of the university and the city of Liverpool. Longitudinal findings suggest that classical and popular musicians start their performance studies with quite different musical experiences and expectations, dependent upon their prior learning. However, the process of writing an annual reflective essay seems to encourage students to think more critically about their practice and performance behaviours and they ask ‘How am I ... ’ or ‘How are we practising?’ which may lead to the adoption of a range of metacognitive practice strategies. The research findings point towards a validation of written reflection combined with performance as an appropriate method for assessing student musicians. Reflective practice acted as a unifying element between the popular and classical musicians. This study provides a contribution to knowledge for tertiary and secondary music educators, scholars and those involved in higher education course design.

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Books on the topic "Musicians in art"

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Roalf, Peggy. Musicians. New York: Hyperion Books for Children, 1993.

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Alade, Art. The great Art: Life & times of Art Alade. Lagos, Nigeria: Jemi-Alade, 2003.

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Degenhardt, Gertrude. Gertrude Degenhardt: Vagabondage ad Mortem = Musikanten des Todes = musicians of death = musiciens de la mort. Mainz: Edition GD, 1995.

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Pepper, Art. Straight life: The story of Art Pepper. Edinburgh: Mojo Books, 2000.

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Pepper, Art. Straight life: The story of Art Pepper. New York: Da Capo Press, 1994.

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Gourse, Leslie. Art Blakey, jazz messenger. New York: Schirmer Trade Books, 2002.

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Ranade, Ashok D. Maharashtra art music. New Delhi: Maharashtra Information Centre, Govt. of Maharashtra, 1989.

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Gordon, Stewart. Mastering the art of performance: A primer for musicians. New York: Oxford University Press, 2010.

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Stewart, Gordon. Mastering the art of performance: A primer for musicians. New York: Oxford University Press, 2010.

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Stewart, Gordon. Mastering the art of performance: A primer for musicians. New York: Oxford University Press, 2010.

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Book chapters on the topic "Musicians in art"

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Smith, Dana. "A Bavarian Musical Department without Bavarian Musicians." In Jewish Art in Nazi Germany, 132–48. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003160311-9.

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Castelo-Branco, Salwa El-Shawan. "Performing Soviet Cultural Diplomacy: “Western Art Music” and Musicians in Cairo 1955–1970." In Music and Cultural Diplomacy in the Middle East, 163–78. Cham: Springer International Publishing, 2024. http://dx.doi.org/10.1007/978-3-031-36279-8_8.

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Carrico, Alexandria, and Katherine Grennell. "Case Studies of Disabled Composers and Musicians in the Western Art Music Canon." In Disability and Accessibility in the Music Classroom, 45–85. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003222224-4.

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Turek, Ralph, and Daniel McCarthy. "The Art of Countermelody." In Theory for Today’s Musician, 303–28. Third edition. | New York ; London : Routledge, 2020.: Routledge, 2019. http://dx.doi.org/10.4324/9781351246262-24.

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Shchepakin, Vasyl. "KHARKIV MUSICIANS THE MARECHEKS: ANCESTRY – FINDINGS – NEW RIDDLES." In MUSICAL ART: HISTORICAL AND THEORETICAL DISCOURSE, 82–103. Liha-Pres, 2020. http://dx.doi.org/10.36059/978-966-397-198-8/82-103.

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Rempe, Martin. "Conclusion: Musicians’ Lives as Creative Work." In Art, Play, Labour: the Music Profession in Germany (1850–1960), 378–96. BRILL, 2023. http://dx.doi.org/10.1163/9789004542723_014.

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MacDonald, Raymond A. R., and Graeme B. Wilson. "Distributed creativity and the myth of shared understanding." In The Art of Becoming, 91–111. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190840914.003.0005.

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This chapter examines the prevalent assumption that improvisers must share understanding of what they are trying to achieve and how they are thought to do so, investigating the importance of identities and how they are constructed among co-improvisers. The role of talk between musicians in constructing understanding is examined with reference to interviews with improvisers. Implications for teaching and new creative practice are discussed with specific examples of how improvisation can be taught. Research on improvisation tends to assume that in a successful group performance, musicians must have the same conception of the quality and meaning of the music they play. This chapter compares the accounts of different improvisers within a group, to reach an explanation of whether and how these are negotiated while playing together. This chapter demonstrates that if participants feel invested in the group process, improvisation can take place to participants’ satisfaction in the absence of their shared understanding.

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Rempe, Martin. "Squabbling Professions: Musicians, Composers and Music Teachers." In Art, Play, Labour: the Music Profession in Germany (1850–1960), 189–213. BRILL, 2023. http://dx.doi.org/10.1163/9789004542723_009.

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Whitmore, Aleysia K. "The Art of Representing the Other." In World Music and the Black Atlantic, 55–81. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083946.003.0003.

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This chapter explores how industry personnel respond to audience and industry expectations by examining the negotiations behind the production of world music. The chapter looks behind and underneath world music products to analyze, not just the effects of representational decisions, but also how people make these decisions—how they negotiate the dynamics of representational and interpretive distortion. Industry personnel work with musicians and audiences to develop products that are authentic and sellable. They play with and push against markers of authenticity that intersect and parallel each other on axes of locality and globality, liveness and mediation, marginality and mainstream, purity and hybridity. Authenticity occupies different positions on these axes depending on musicians’, industry actors’, and audiences’ expectations. As they negotiate this web of expectations, industry personnel reinforce and contest the discourses of alterity, essentialist stereotypes, and unequal power dynamics that continue to be so problematic in the world music industry.

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"Before the Jazz Age: professional musicians and good music." In The Rise of a Jazz Art World, 11–45. Cambridge University Press, 2002. http://dx.doi.org/10.1017/cbo9780511489495.002.

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Conference papers on the topic "Musicians in art"

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Karpova, E. K. "The first organization of musicians in Ufa musical history." In Scientific trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-02-2020-06.

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Singer, Eric L., Ken Perlin, and Clilly Castiglia. "Real-time responsive synthetic dancers and musicians." In ACM SIGGRAPH 96 Visual Proceedings: The art and interdisciplinary programs of SIGGRAPH '96. New York, New York, USA: ACM Press, 1996. http://dx.doi.org/10.1145/253607.253779.

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Pizzolitto, Elia. "Are Musicians Entrepreneurs? A Preliminary Analysis." In Seventh International Scientific-Business Conference LIMEN Leadership, Innovation, Management and Economics: Integrated Politics of Research. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2021. http://dx.doi.org/10.31410/limen.2021.231.

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In this narrative literature review, we employed the grounded theory for studying the scientific debate, the contradictions, and the tensions between entrepreneurship and music activity. In particular, this work represents a preliminary study for a more in-depth future analysis of this relationship. The analysis let emerge two superordinate structures, five themes, and eight subthemes. The two superordinate structures represent the most relevant tensions we found in the analyzed articles. The first tension highlights the complicated relationship between musicians’ identity and the entrepreneurial nature of their job. The second tension studies the needed compromises that musicians have to consider between the individualistic nature of their art and the needed conformism imposed by the capitalistic environment of the music market. Finally, in the discussion section, we consider this preliminary study’s limitations and propose several further research opportunities.

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Zhurkova, Daria. "Russian Biopics About Popular Soviet Musicians: Between Conventions, Past and Reality." In The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048557240/icassee.2021.017.

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Lukina, Galima. "The System of Formation of Compensatory Factors in Blind Musicians in the Solfeggio Lessons." In 2017 International Conference on Art Studies: Science, Experience, Education (ICASSEE 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-17.2018.79.

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Cabacov, Dmitrii. "Modern scientific publications of musicians from the Republic of Moldova about the local piano art." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.04.

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The pianistic art of the Republic of Moldova is covered in numerous booklets, articles and books, revealing the peculiarities of the creation of local composers, showing the development trends of the national music genres, representing outstanding performers and pedagogues. The problems of the development of the Sonata genre are reflected in the works of E. Mironenco, V. Melnic, N. Chiciuc, G. Cocearova, I. Hatipova. A number of publications by V. Mamalîga, M. Belȋh, E. Gȋrbu, A. Rojnoveanu and other musicologists are dedicated to research in the field of piano miniatures and miniature cycles.

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Peng, Chen, and Wang Qian. "Study on the Digital Art Presentation Based on Tri-colored Camel Carrying Musicians on the Back." In ICVIP 2017: International Conference on Video and Image Processing. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3177404.3177447.

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Ekşioğlu, Mahmut, N. Kaan Öztürk, and Orkun Şirin. "Save the Musicians! The Ergonomics of the Drumming." In Applied Human Factors and Ergonomics Conference. AHFE International, 2018. http://dx.doi.org/10.54941/ahfe100073.

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Drumming is a highly repetitive and demanding physical art nearly played in all music styles. Drummers use both two hands and feet during playing. Due to this fact, the musicians in the drumming profession are facing the risks of developing musculoskeletal pain and injury in the hands, wrists, elbows, shoulders, ankles as well as low back and neck areas. Especially, wrists, ankles and back are the most risky parts. To reduce the risks involved and improve the drumming performance, the drummer´ workstation set up, instruments and the method of performing need to be evaluated and redesigned according to the ergonomics principles. In this pilot study, a sample of eight drummers are surveyed for bodily discomfort/pain and injury. Findings indicate that the seating posture of drumming is the most critical ergonomics related issue. Low back, neck, and shoulders as well as ankles and wrists are at risks due to the awkward and/or static joint postures. Following the survey results, the drummer´s workstation set up, instruments and performing methods are evaluated and recommendations are provided.

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Druta, Andrei, and Diana Bunea. "The repertoire for pan-flute in the context of the development of performing art in contemporaneity." In Valorificarea și conservarea prin digitizare a colecțiilor de muzică academică și tradițională din Republica Moldova. Academy of Music, Theatre and Fine Arts, Republic of Moldova, 2023. http://dx.doi.org/10.55383/digimuz2023.09.

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The article presents an analysis of an academic and folkloric repertoire for Pan-Flute, from both the musicological and interpretative perspectives, of the artistic and technical possibilities of performing on this instrument at present. The authors selected representative creations, systematizing them into two groups — transcribed from other instruments and originals, written specifically for the Pan-Flute. The repertoire in question sums up and reflects the remarkable achievements of the art of performing on this instrument in contemporaneity, due to some famous musicians and composers from the Romanian and European space, who have set out to promote it and to highlight its potential.

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Kaidi, Wang. "The Formation of the Professional Vocal Education in China Regarding the Russian Musicians’ Contribution." In Proceedings of the 5th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icelaic-18.2018.10.

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Reports on the topic "Musicians in art"

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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.

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Білоус, О. С. Український фольклор як засіб морально-естетичного становлення особистості школяра. ПДПУ ім. К. Д. Ушинського, 2002. http://dx.doi.org/10.31812/123456789/3317.

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The article deals with the meaning of folklore as the means of a moral-aesthetic making of a pupil’s personality. The author’s conclusions are based on the opinions of famous pedagogues and musicians. The curriculum in Music analysis, the recommendations concerning the broadening of a used repertoire of a folk music creative work in the practice of a compulsory school at the expense of introduction of the material of an folk creative work are given.

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Cai, Wenjie, and Hwan-Ching Tai. String Theories: Chemical Secrets of Italian Violins and Chinese Guqins. AsiaChem Magazine, November 2020. http://dx.doi.org/10.51167/acm00006.

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The most valuable musical instruments in the world are 17-18th century violins from Cremona, Italy (made by Stradivari and Guarneri), and Chinese guqins (7-string zithers) from the 8-13th century. Today, musicians still prefer these antique instruments for their superior acoustic qualities that cannot be reproduced by later makers. Over the centuries, many theories have been proposed to explain the unique playing properties of famous violins and guqins, but most are based on conjectures rather than factual evidence.

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Keogh, Brendan, Dan Golding, and Taylor Hardwick. Australian Music and Games 2023 Benchmark. Queensland University of Technology and Swinburne University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.243139.

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Digital games are a global cultural force, of which music is a foundational aspect. Music is crucial for digital games to develop atmosphere, convey narratives, and frame player interactions. At the same time, digital games provide musicians exciting new opportunities to experiment with dynamic, adaptive, and non-linear music structures. However, writing, producing, licensing, and implementing music for digital games also poses new challenges to existing screen music practices and business models. This benchmark is the first ever investigation into the scope and scale of Australia’s game music sector. It reveals a great diversity of working arrangements, career pathways, and skill sets among game music workers. It exposes entrenched and emerging challenges facing the field that require a rethinking of conventional approaches, and identifies new opportunities for Australian game music to flourish and grow.

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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.

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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.

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Gratzke, Michael. ‘Confessions of a MILF (I chose being an artist over being a wife)’. Love and relationships in Viv Albertine’s memoirs. University of Dundee, February 2022. http://dx.doi.org/10.20933/100001240.

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The memoirs of (post-) punk musician Viv Albertine address the issue of choice or lack thereof in romantic and family relationships. They depict a world in which choice of romantic partners appears normal if often unsuccessful, whereas choice within family relationships is restricted. It is self-evident that one cannot choose one’s blood relatives. However, amplified by Albertine’s scepticism towards any social relationships, her two memoirs represent ‘negative choice’ (Eva Illouz) in heterosexual romantic relationships and the complex ways in which negative choice can change family dynamics. In her memoirs, Albertine presents loneliness as the opposite of love which aligns with her model of choice, as it is preferable to live a lonely life over being bound up in love relationships, romantic or familial, which are harmful to one’s wellbeing. This article demonstrates how the ethos of early punk is translated into an uncompromising process of life writing which presents itself as faithfulness towards the individual’s core need for self-realisation and self-expression against the backdrop of failing romantic and familial relationships, severe physical and mental health problems, a self-diagnosis of autism and a patriarchal society.

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