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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 HistoryPh.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 HistoryM.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 étudiésJapanese 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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Einarsdottir, Sigrun Lilja. "J.S. Bach in everyday life : the 'choral identity' of an amateur 'art music' Bach choir and the concept of 'choral capital'." Thesis, University of Exeter, 2012. http://hdl.handle.net/10036/4022.
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This thesis presents research on an amateur composer-oriented Bach choir. Its main purpose is to study the development of musical identities and musical preferences of choir members as they take shape through the collective learning process of rehearsing and performing large-scale choral music. The study analyses how the choral participation and performance creates a certain type of ‘choral capital’ (a combination of social and cultural capital within the choral setting) and how the choristers reconstruct and relate to the composer (J.S. Bach) by creating ‘choral identities’ linked to the composer-orientation of their choir. This study is based on an interdisciplinary approach, seeking concepts and ideas from different fields of study – primarily sociology and music sociology (music in everyday life and the concepts of social and cultural capital in the amateur choral setting) but also music psychology regarding concepts of musical and vocal identities, history of music (especially Bach scholars, previous biographical writings about J.S. Bach), music and education (choral singing as informal music education) and interdisciplinary studies on music, health and well-being. The methodological approach of this research consists of a grounded theory based, single case study where the case was the Croydon Bach Choir in London performing J.S. Bach’s Mass in B Minor, using participant observation (where I sang with the choir for one semester) and qualitative interviews as main research methods and gathering demographic background data on choir members via paper-based survey. Whereas significant research on music performances has been conducted, so far choral research, where the direct participation of the researcher as a member of the choir is used as one of the main research methods, is still quite rare. Results indicate that participants develop socio-musical identity both through their choral participation in general, performance experiences and early music consumption in the family household and the emphasis of the importance of choral singing as a fulfilment instead of pursuing a professional career. Through choral singing, participants developed ‘choral capital’ through a) the effects of collective learning on their musical taste and preferences (thus broadening their musical taste and preferences and reconstructing the composer) and b) the well-being factor of collective singing and communal learning through the process of rehearsing and performing the Mass in B Minor. Furthermore, findings indicated that participants construct Bach as a genius and a devout Lutheran, an image that relates to the romantic image of Bach presented in the late 19th – early 20th century biographical writings on the composer. Thus in general, their choral activities form a valuable addition to their social and cultural capital (´choral capital´), which they use as a source of well-being in everyday life. In addition, participants create a certain ‘choral identity’ by relating to the composer-orientation of their choir; the promotional label of Bach as a synonym for quality choral singing and the emphasis of challenging repertoire.
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Casals, Balaguer Marta. "Los músicos y su profesión. Trabajo artístico y profesionalización en el jazz y la música moderna. Un análisis sociológico." Doctoral thesis, Universitat de Barcelona, 2018. http://hdl.handle.net/10803/586251.
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La presente tesis doctoral realiza un análisis del universo de músicos de jazz y música moderna de la ciudad de Barcelona, poniendo el foco de estudio en la configuración de las estrategias de desarrollo profesional que estos músicos desempeñan y en las dinámicas de profesionalización, las prácticas artístico-profesionales y las diferentes instancias de interacción, colaboración y cooperación que estos músicos llevan a cabo.
Para este fin, se establecen cuatro dimensiones analíticas que definen las líneas estructurales sobre las cuales se desarrolla el análisis de la tesis: la educación y formación artística como base para la valorización y profesionalización del músico; el desarrollo técnico-artístico como parte de la consolidación de la identidad artística; las actividades profesionales que conforman las estrategias de desarrollo; y el colectivo de profesionales del sector como plataforma de promoción de la creatividad.
La estructura de análisis de la tesis se divide en dos grandes partes: las dinámicas de profesionalización del trabajo artístico de la música y la configuración de estrategias profesionales a partir de los retos de desarrollo que presentan las carreras artísticas en el ámbito musical. En la primera parte se analizan los aspectos relacionados con las dinámicas de profesionalización de las prácticas artísticas que discuten la conceptualización del músico profesional (la entrada al mundo musical, la dimensión instrumental y/o vocal y la dimensión estilística, la transición de la etapa formativa a la etapa profesional de la música, entre otros) y también se exponen las principales dificultades de desarrollo que dicho profesional de la música afronta actualmente dentro de la escena artística estudiada.
En la segunda parte de la tesis se identifican y analizan las facetas profesionales predominantes que aparecen en el ámbito musical (la del “músico-profesor”, el “músico-compositor” y el “músico-intérprete”, que no son mutuamente excluyentes, sino que muestran las tendencias más marcadas en cada extremo) y, a su vez, se estudian las principales estrategias artístico-profesionales que los músicos desarrollan actualmente y que tienen una incidencia en la generación de oportunidades de trabajo dentro del campo artístico. Se expone que dichas estrategias artístico-profesionales están caracterizadas por tres dimensiones estructurales: la dimensión administrativa, que recoge principalmente las tareas de gestión y promoción; la dimensión artísticocreativa, con la construcción de la identidad artística y la creación de obra; y la dimensión social dentro del colectivo, con las estrategias relacionadas con las dinámicas de cooperación y colaboración entre los círculos de músicos y la conformación de plataformas de creación.
La investigación realizada se enmarcó en una perspectiva metodológica cualitativa y las principales técnicas de recolección de información que se utilizaron fueron la entrevista y la observación participante. Se realizaron un total de 55 entrevistas semiestructuradas y se distribuyeron de la siguiente manera: 34 a músicos profesionales del campo del jazz y la escena de la música moderna en Barcelona; 6 a otros agentes del sector musical, entre otros miembros de la Administración pública, representantes de asociaciones de profesionales y directores de instituciones educativas en el campo musical; y 15 entrevistas con informantes cualificados, unos pertenecientes a la escena profesional de la música internacional y otros pertenecientes al campo académico.
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Hatlevik, Espen. "Are Musicians Affected by Room Acoustics in Rehearsal Rooms?" Thesis, Norges teknisk-naturvitenskapelige universitet, Institutt for elektronikk og telekommunikasjon, 2012. http://urn.kb.se/resolve?urn=urn:nbn:no:ntnu:diva-18839.
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This study has investigated to what extent musicians adjust their source levels to different music rehearsal rooms. In the experiment, six amateur musicians were to perform the same song i four different rehearsal rooms, by first singing, then by playing guitar and last by combining singing with guitar playing. All sound sources were recorded and analyzed. The results shows that the average musician adjusts his source levels to the rehearsal room and that most of the adjustments are made in the guitar playing. Looking at the individual musician there are some that do not show any signs as to being affected by the rooms, and there are some that shows clear signs of being affected by the rehearsal room. The result also shows that the musicians are affected differently by different acoustic parameters, whereas the strength shows the least correlation and reverberation time shows the most correlation to the adjustment made by the average musician.
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Ricard, Bertrand. "Les groupes de rock amateurs : un art de vivre communautaire." Paris 5, 1996. http://www.theses.fr/1996PA05H030.
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Cette thèse se donne pour but, la compréhension, à partir de l'exemple des petits groupes "rock" de la banlieue parisienne et d'une expérience personnelle de musicien, de la forme la plus contemporaine de "lien social". Il s'agira de montrer à la fois que cette manière de s'agréger, autour d'une "vision" esthétique commune, d'un imaginaire partage déborde le strict cadre du "rock" et se retrouve sous diverses modulations dans l'ensemble du corps social, mais aussi que l'éthique qui se crée ne peut plus s'analyser avec les outils traditionnels mais nécessite au contraire, un appareillage adapté à la situation "présente". Aussi, après avoir réfuté les critiques adressées la culture de masse et à la culture populaire et examine comment les groupes articulaient leur quotidien, leur "usage des plaisirs" au moyen de rituels et d'un code particulier, nous nous attarderons plus longuement sur les enjeux et les conséquences de cette "éthique de l'esthétique" que ce soit, l'absence de morale, le retour du "sacre", l'apparition d'un narcissisme collectif et l'émergence d'une identification autour de ses propres "valeurs", en un mot, nous nous attacherons a démontrer que la forme de "communauté qui vient" en cette fin de siècle se distingue radicalement des utopies des années 60 et 70This PhD tackles with the most contemporary form of "social link" from the example of the small rock bands in the suburbs of Paris as well as from my own personal experience as a musician. I will set out to point out that the way musicians incorporate themselves into a band both through a common aesthetic vision and a shared imagination goes well beyond the scope of rock music and shows within the social body as a whole in many different ways. Furthermore, I will show that the code of ethics that's being created should no longer be analyzed through a classical approach but requires new methods of investigation. I first have intended to question the many criticisms that have been levelled at mass culture or folk culture and have analyzed how the bands go through their everyday routine as well as how in grown rituals and specific codes help them fulfill their expectations. The stress will then be laid on what is at stake and on the consequences of this "ethics of aesthetics", whether it be the absence of moral values, the return of the sacred, a collective form of narcissism or a new pattern of identification to one's own set of values. To put it in a nutshell, I will show that this late twentieth century form of community utterly differs from the utopias of the 60s and 70s
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Giron-Panel, Caroline <1979>. "À l'origine des conservatoires : le modèle des ospedali de Venise (XVI-XVIII siècles)." Doctoral thesis, Università Ca' Foscari Venezia, 2010. http://hdl.handle.net/10579/1140.
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La fondation des quatre ospedali de Venise témoignait de l’influence des idées humanistes et des idéaux de la Réforme catholique sur l’aide à apporter aux pauvres, aux malades et aux orphelins. La structure politique et sociale particulière de la République Sérénissime s’était traduite par une implication particulièrement forte des patriciens et des citoyens dans ces institutions où se nouaient de profitables alliances. Le contexte particulier des années 1630, qui virent s’ouvrir les premiers théâtres d’opéra, s’était ajouté à la présence dans les ospedali de nombreux enfants susceptibles de recevoir une formation musicale de haut niveau pour faire naître de véritables écoles de musique. Limitée à l’origine à l’accompagnement des offices, l’activité musicale prit au XVIIIe siècle une grande importance, la sélection rigoureuse des musiciennes et le choix des meilleurs compositeurs contribuant à faire des chœurs des ospedali l’épicentre de la vie musicale vénitienne. Les « filles du chœur », qui seules recevaient une formation musicale, pouvaient ensuite entrer dans les ordres ou se marier. Bien qu’il leur fût interdit de se produire en public hors de leur ospedale, certaines d’entre elles parvinrent en effet à faire carrière au théâtre. Elles contribuaient ainsi à faire connaître hors des frontières de la République des institutions uniques en Europe, de plus en plus présentes dans les récits des voyageurs et qui participèrent pleinement, jusqu’à la fin du XVIIIe siècle, au mythe de Venise. Avec les conservatoires de Naples, les ospedali offrirent ainsi un modèle italien d’école de musique exportable en Europe.The foundation of the four ospedali of Venice revealed the influence of the humanist ideas and the ideals of the catholic reformation on the philanthropy towards the poor, the sick and the orphans. The specific political and social structure of the Venetian Republic explains the strong implication of the patricians and the cittadini within those institutions, where they could develop profitable alliances. The particular context of the 1630s, when the first theatres of opera opened, added itself to the presence in the ospedali of many children who could be taught music at a high level to give birth to real music schools. Originally conceived to accompagny religious services, the musical activity became very important in the XVIIIth century : as the musician girls were specially selected and the composers were carefully chosen, the ospedali choirs became the epicentre of the Venetian musical life. The "choir girls", who were the only ones to be taught music, could then take the veil or get married. Although they were forbidden to perform in public outside their ospedale, some of them made their career on the stage. Their fame spread wide over the borders of the Republic, and they thus participated to have the ospedali known throughout Europe. These unique institutions were more and more mentioned in the travel diaries and they played a role in the durability of the myth of Venice until the end of the XVIIIth century. Along with the musical academies of Naples, the Venetian ospedali created an Italian model for other European music schools.
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Papadopoulos, Kalliopi. "Profession musicien : Devenir musicien professionnel : un don, un héritage, un projet familial ?" Paris 5, 2001. http://www.theses.fr/2001PA05H059.
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Qui devient musicien ? Comment s'organise aujourd'hui l'accès à cette profession en France ? Comment l'imaginaire attaché à la création artistique et les contraintes émanant d'un monde professionnel fortement réglé parviennent-ils à se conjuger ? Comment devient-on musicien et selon quels critères un musicien appartient-il à la "profession" ? Tois voies permettent l'accès aux professions musicales : le "don", l'héritage, ou le projet parental, fruits d'un système d'éducation musicale bâti sur un modèle corporatiste, elles sont analysées ici selon deux logiques d'action, celle de la reproduction et celle du projet familial. Euterpe, Orphée, Héraclès et Achille : ces quatre portraits permettent de décrire et de classer les cas les plus courants. Si Euterpe incarne le modèle de la transmission réussi, Orphée en manifeste l'échec. Quant à Achille et Héraclès ils représentent l'aboutissement plus ou moins réussi du projet. L'état des faits interroge les conditions de la formation musicale en place. Quel pourrait être dès lors le devenir des études musicales ? Vers quel public pourraient-elles s'ouvrir ? A quel type des représentation doivent-elles répondre ? Quel sens donner à d'éventuelles modifications du système d'éducation musicale ?Who does become a musician and how is organized the access to this profession in France, nowadays ? How do the realm of fancy connected with artistic creation and the constraints, emanating from a world of work strongly ruled, manage to combine ? How do people become musicians and who is considered as a professional musician ? There are three different ways leading to music professions : "talent", legacy or plan of the parents, which are the fruits of an education based on a corporatist system. They are analysed according to two logics of action : one concerning the reproduction and the other concerning the plan of the family, Euterpe, Orpheus, Heracles and Achilles : these four types allow to give a description and a classification of the most common cases. (. . . )
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Bennett, Dawn Elizabeth. "Classical instrumental musicians : educating for sustainable professional practice." University of Western Australia. School of Music, 2005. http://theses.library.uwa.edu.au/adt-WU2006.0002.
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[Truncated abstract] This study extends understanding of the careers of classical instrumental musicians within the cultural industries, and ascertains the extent to which professional practice is reflected within current classical performance-based music education and training. Little is known about the careers of classically trained instrumental musicians in terms of the activities in which they engage and the skills and attributes used to sustain their professional practice, and there is also widespread lack of understanding about the music industry and the wider cultural industries. The extent to which education and training reflects the careers of music performance graduates has gained heightened exposure at the same time as higher education institutions have become increasingly accountable for the employability of graduates, and yet much of the available literature has only tangential relevance and there remains a shortage of literature relating to the complex area of creative practice. The research approach for the study bridges both the interpretive and normative paradigms. Using survey and interview methods, the study employs three distinct but interrelated data collections to investigate sustainable professional practice through analysis of musicians’ careers, performance-based education and training, and the cultural industries. The study identifies the longitudinal characteristics of musicians’ professional practice and presents in a conditional matrix the intrinsic and extrinsic influences that impact upon it. The study proposes a practitioner-focussed Arts Cultural Practice (ACP) framework that consists of four practitioner-focussed, non-hierarchical groups which were determined through analysis of the major foci characterising roles within the cultural industries. As such, the ACP framework represents a new paradigm of sustainable practice that circumvents existing barriers; submitting a non-hierarchical view of cultural practice that clearly indicates the potential for an exciting diversity of holistic practice often not considered by practitioners. The ACP curricular model posits the collaborative delivery of generic skills across artforms. This study substantiates the generic skills used by artists throughout the cultural industries, and confirms the rationale for education and training which considers the sustainability of music graduates’ careers as arts cultural practitioners. Thus, individual strengths and talents should be developed according to the intrinsic and extrinsic influences which drive the passion for arts practice.
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Edmonson, Jordan. "Predictors of Music Performance Anxiety in Adolescent Musicians." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011842/.
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Music performance anxiety is an issue that affects musicians at all levels but can begin in early adolescence. The researcher investigated three variables and their ability to predict music performance anxiety: catastrophization, self-regulation, and goal-setting style. Catastrophization is a negative thought that amplifies perceived criticism. Self-regulation is a metacognitive skill that allows students to plan strategies and evaluate learning. Goal-setting style refers to a student's framework when establishing learning objectives – whether they are focused on mastering the subject matter, or only trying to avoid being the worst in the class. A sample of adolescent wind musicians (n = 68) were administered four self-reporting measures for the predictor variables and music performance anxiety. Catastrophization, self-regulation, and goal-setting style were all statistically significant in predictor music performance anxiety, with catastrophization alone explaining 69% of the variance in the predictor variable. Overall, the whole model was able to explain 46% of the variance in music performance anxiety.
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au, S. Beltman@curtin edu, and Susan Beltman. "Motivation of high-achieving athletes and musicians: A person-context perspective." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050728.140548.
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This research explores how motivation is shaped at the interface of person and context, with a focus on motivation in sport and music. From a social cognitive perspective, motivation research traditionally focuses on factors within the individual, whereas a more situated conceptualisation requires that motivation be studied within a person in context perspective. This study combines elements of both perspectives. It is proposed that motivation is shaped at the interface of person and context, where individuals make appraisals of social (other people) and structural (physical or organisational) aspects of their environments. A holistic view of motivation is adopted that incorporates initial engagement, ongoing involvement and persistence.
One challenge in current motivation research is to develop appropriate methods to capture such a dynamic, complex construct. In this study, semi-structured interviews and innovative tasks are used to gather biographical and longitudinal data about high-achieving athletes and musicians from diverse settings.
The findings reveal that complex personal and contextual factors operate reciprocally and dynamically as individuals make ongoing appraisals of their current situations. For example, personal factors such as aptitude, and contextual factors such as the existence of community programs, operate in a reciprocal way to shape participants initial engagement in sport or music. Complexity is highlighted when examining the role of a unique group of others in sport and music - onlookers (spectators or audience). A powerful effect on continuing involvement occurs when communities overlap and family members take on roles associated with onlookers. Participants face a range of potential problems in their lives and there are variations in the way these are perceived, in strategies and resources used, and in their impact on persistence. An important finding is the dynamic nature of motivation as the nature and extent of participants involvement in sport or music changes over time.
In addition to deepening our understanding of how motivation is shaped at the interface of person and context, the study offers a unique methodological contribution and the findings have implications for enhancing motivation in applied settings.
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Savard, Alexandre. "When gestures are perceived through sounds : a framework for sonification of musicians' ancillary gestures." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116051.
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This thesis presents a multimodal sonification system that combines video with sound synthesis generated from motion capture data. Such a system allows for a fast and efficient exploration of musicians' ancillary gestural data, for which sonification complements conventional videos by stressing certain details which could escape one's attention if not displayed using an appropriate representation. The main objective of this project is to provide a research tool designed for people that are not necessarily familiar with signal processing or computer sciences. This tool is capable of easily generating meaningful sonifications thanks to dedicated mapping strategies. On the one hand, the dimensionality reduction of data obtained from motion capture systems such as the Vicon is fundamental as it may exceed 350 signals describing gestures. For that reason, a Principal Component Analysis is used to objectively reduce the number of signals to a subset that conveys the most significant gesture information in terms of signal variance. On the other hand, movement data presents high variability depending on the subjects: additional control parameters for sound synthesis are offered to restrain the sonification to the significant gestures, easily perceivable visually in terms of speed and path distance. Then, signal conditioning techniques are proposed to adapt the control signals to sound synthesis parameter requirements or to allow for emphasizing certain gesture characteristics that one finds important. All those data treatments are performed in realtime within one unique environment, minimizing data manipulation and facilitating efficient sonification designs. Realtime process also allows for an instantaneous system reset to parameter changes and process selection so that the user can easily and interactively manipulate data, design and adjust sonifications strategies.
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Barroero, Trevor, and Trevor Barroero. "The Art of Performance: On Stage and Behind the Curtain." Thesis, The University of Arizona, 2017. http://hdl.handle.net/10150/624910.
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Through successful personal training, verified assessments, and professional applications, a
musician can establish a personal career as a performing artist. This study seeks not only to explore
the ways in which musicians can better their own musicianship, but to how they can inspire and
empower others through philanthropic applications of their art.
A musician’s laboratory exists both in the practice room and on the concert stage.
Therefore, for twelve months, the author sought out the most diverse research and performance
opportunities, including performances as a featured soloist in Canada and as guest timpanist with the
Moscow Symphony in Russia. The project culminated in a benefit concert titled, …in loving memory,
raising nearly $5,000 for the Alzheimer's Association.
Through personal experiences, the author outlines the solo, small ensemble, and large
ensemble performance opportunities that were pursued in order to improve his own musicianship
and then applied to the performance of the benefit concert. Offering a "look behind the curtain,"
this document will also address the logistical hurdles for tackling a charitable event of this scale.
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Murakami, Yorimitsu. "Art et artiste : Vision de l'artiste-musicien selon Zeami et Romain Rolland : l'idéalisme comparé." Paris 4, 1987. http://www.theses.fr/1987PA040419.
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Le propos essentiel de la thèse est de proposer une comparaison entre les visions "orientale" et "occidentale" de ce que doit être le véritable "artiste" comme musicien et interprète selon les modèles décrits par Zeami et Romain Rolland, tous deux théoriciens et écrivains mais vivant à des époques différentes et dans une tradition et un contexte social totalement différents. L'étude sur Zeami est basée sur ses traités ("Fûshikaden "; "Shikadô"; " Yûgaku Shûdô Fûken "; textes concernant les "degrés artistiques"; lettres à Komparu-Zentchiku avec emprunts à des textes de ce dernier). L'auteur de la thèse retrace les étapes des progrès nécessaires à travers toute une vie pour devenir un "artiste parfait", d'une manière qui rappelle l'analogie entre art et nature. Zeami atteint ainsi une vision mystique, cosmique et métaphysique sur les "secrets" de l'interprétation-tradition que le vrai artiste doit transmettre à ses disciples. L'étude sur Romain Rolland est basée en partie sur ses journaux, sur ses correspondances (Strauss, Meysenbug, Bertolini), son œuvre sur Beethoven et, essentiellement, sur son roman Jean-Christophe, dans lequel R. Rolland a exposé ses idées sur le rôle de l'artiste véritable. La thèse note les idées de R. Rolland sur la musique de son temps et sur la vision imaginaire de l'artiste engagé dans une mission fraternelle et mondiale de transmission de messages, vision illustrée d'une manière romanesque dans le personnage de Jean-Christophe. Dans chacune des parties de la thèse sont examinés les points de convergence entre ces deux positions apparemment éloignéesThe basic aim of the thesis is to propose a comparison between the "oriental" and "occidental" vision of what has to be the "perfect artist" as a musician and a performer according to the visionary description proposed by Zeami and Romain Rolland, both theorist and writers but living at different times and in completely different tradition and social environment. The study on zeami's position is based on his 14 15th-century treatises ("Fûshikaden "; "Shikadô"; " Yûgaku Shûdô Fûken "; texts dealing with the "artistic degrees"; letters to Komparu-Zentchiku and fragments extracted from Zentchiku's works). The author of the thesis traces the various stages of the necessary progress throughout the life for becoming a "real artist", in a way similar to the analogy between art and nature. Zeami reaches a mystical, cosmical and metaphysical vision of the "secrets" of the tradition-performance that the artist has to convey to his disciples. The study on R. Rolland's vision is based on his Journaux, his correspondence (R. Strauss, von Meysenbug, Bertolini), his work on Beethoven and, essentially, on his novel Jean-Christophe where are focused all the basic ideas of Rolland on what must be the "artist". The thesis points out his ideas on the music of his time and on the visionary ideal of the artist engaged into a fraternal and worldwide mission, as described in the "romantic" character of Jean-Christophe. In each part of the thesis, the mutual concordances between these two visions are pointed out
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Murakami, Yorimitsu. "Art et artiste : vision de l'artiste-musicien selon Zeami et Romain Rolland : l'idéalisme comparé /." Paris : [Y. Murakami], 1987. http://catalogue.bnf.fr/ark:/12148/cb35849617t.
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Welch, Chapman. "Three Pieces for Musicians and Computer: Rameaux, Nature Morte, Moiré." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9723/.
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Three Pieces for Musicians and Computer implements a modular formal structure that allows the performers to experiment with the order and number of movements to arrive at their ideal combination. The piece is a collection of three solo works: Rameaux, Nature Morte, and Moiré for bass flute with b-foot, metal percussion (vibraphone, glockenspiel, and crotales), and clarinet (A and B-flat instruments) respectively. In addition to the original versions, an alternate version of each piece is included. The alternate versions add new performance elements to the original works: live electronics in Rameaux and Nature Morte and an acoustic quintet (flute, viola, percussion, piano and harp) in Moiré. These additions reframe the original works by introducing new harmonic, timbral, and formal connections and possibilities. The compositional process of Three Pieces relies on the notion of Germinal Elements, which are defined as the set of limited, distinct, and indivisible materials used in the creation of the work. Though Germinal Elements are indivisible, they undergo a type of developmental process through expansion and contraction, which is an increase or a decrease in the range or scope of any musical parameter (time, pitch, density, dynamic, duration, etc.) or set of parameters. Analysis of this cycle of works reveals a variety of recombinations of four GE's as well as processes of expansion and contraction applied to multiple parameters of each GE to generate formal relationships within and between works. Two electronics systems, the delay/harmonizer instrument and the live performance system are described both in technical and musical terms with specific examples given to show how the electronics influence and expand both the surface material and the formal structure of the work.
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Spencer, William David 1952. "An Attitude Assessment of Amateur Musicians in Adult Community Bands." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277924/.
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The purpose of this study was to ascertain certain factors which lead adults to participate in community band activity. This study attempted to answer the following questions: 1. What are the factors of rewards for community band participants based on the responses of a selected sample to validated attitude statements? 2. What are the relationships that might exist between certain demographic characteristics of the sample such as age, gender, education, occupation, musical training, geographic region (independent variables) and factors of participation (dependent variables) determined by principal components analysis? 3. What are the relationships that might exist between the findings of this study using member generated attitude statements and the findings of other attitude studies using researcher generated attitude statements? A 179-item survey was developed from an initital pool of 839 attitude statements after two pilot studies and an expert review. A randomly selected, stratified cluster sample of 74 organizational members of the Association of Concert Bands participated in the study. The average number of band members present during the survey process was 35. The average number of surveys returned per band was 23.66 for a return rate of 65.9% One thousand seven hundred twenty five individuals participated in the study. Frequency distributions of responses revealed the 36-50 age group to be the most represented (33%) followed closely by the 51-65 age group (27.8%). Males outnumbered females (57.5% to 42.3%). Over 80% of respondents were married. Almost 75% of respondents were college graduates. Over 60% had performed in college ensembles. Over half (55.4%) of respondents were either employed in the professional trades or white collar occupations. Almost 10% considered themselves professional musicians. Principal components analysis of the 179 items yielded six main factors of participation which were labeled Intrinsic Motivators, Organizational Motivators, Membership Standards, Repertoire/Conductor, Rehearsals/Performances, and Quality. Further analysis of Intrinsic Motivators yielded five second level components which were labeled Self-Growth, Musical Growth, Community Pride, Social Rewards, and Conductor. Second level components extracted from Organizational Motivators were labeled Attendance/Practice, Community Support, and Music Selection. Using t-tests and ANOVA, many significant relationships were found between groups on the six main factors and eight sub-factors (independent variables) with the demographic variables (dependent variables), especially age, gender, occupation, level of ensemble experience, past geographic region, present geographic region, and community size.
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Low, George Alexander. "Where are all the disabled musicians? : an exploration of the attitudinal and physical barriers that impact on the identities and lived experiences of musicians with a physical impairment." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33242.
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According to the UK Government, 'disabled people remain significantly less likely to participate in cultural, leisure and sporting activities than non-disabled people' (Department for Work and Pensions & Office for Disability Issues, 2014). Despite this fact, much of the research that relates to disabled people and music is focused on the therapeutic benefits of music and there is a deficit in research that explores disability and music from the perspective of the musicians themselves. The aim of my PhD project was to fill this gap by examining the lived experiences of disabled musicians in order to ascertain what might cause the perceived under-representation of disabled people in the music world. As a musician and music student with mobility and sight impairments, I have first-hand experience of the challenges that can face disabled musicians and these experiences inspired me to explore this area of concern. Consequently, my PhD project is centred on the lived experiences of disabled musicians as they engage in performance and work towards qualifications in music. Thematic analysis was used to analyse data that was collected through 11 semi-structured interviews with disabled musicians and an autoethnographic analysis of my own experiences, both as a disabled musician and PhD researcher. My PhD project shows that disabled musicians encounter a wide range of barriers as they engage in music making or journey towards a qualification in music and that these barriers create significant physical and emotional challenges for disabled individuals. Most of the issues disabled musicians experience occur during performance or while they work towards a qualification in music; these issues are the result of negative attitudes, discrimination and imbued misconceptions. Consequently, there is a need for the lived experiences of disabled people to be better understood by both non-disabled individuals and institutions who provide facilities and services. This improved understanding would allow both service providers and individuals the means to establish and maintain better access to music and music education through the implementation of reasonable adjustments and more positive attitudes towards disabled people.
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Flueck, Christa Anne. "A New Score for Orchestra Education Programs: A Descriptive Analysis of the Cleveland Orchestra's Learning Through Music Teacher and Musician Workshops." The Ohio State University, 1999. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392970753.
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Beissinger, Margaret H. "The art of the lăutar : the epic tradition of Romania /." New York : Garland, 1991. http://catalogue.bnf.fr/ark:/12148/cb371466593.
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Flowers, Michelle C. "Confronting the Enemy Within: An In-Depth Study on Psychological Self-Handicapping among Collegiate Musicians." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862784/.
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Self-handicapping is a psychological behavior people engage in to protect their self-image, project a desired image to others, and to augment feelings of success and achievement. Self-handicapping occurs when individuals have a positive but uncertain self-image about their competence in an arena of life fundamental to their self-identity. Musicians have been underrepresented in self-handicapping studies; yet the very competitive nature of their education and craft, the strong identification musicians have as musicians, and the frequent challenges during all phases of development to their abilities would suggest they are extremely vulnerable to developing self-handicaps. This dissertation discusses the theoretical components of self-handicapping, the personality traits typically exhibited by high self-handicappers, causes, types, and possible motivations for self-handicapping, short and long term effects of the behavior, and the implications these concepts have to the musician community. In addition, it contains the results of an extensive survey of musicians which examines self-handicapping tendencies, depression, imposter phenomenon, and self-esteem ratings to determine 1) if musicians self-handicap, 2) how the four constructs are related to each other within the musician population, 3) if other factors concerning musicians and self-handicapping are related, 4) areas for future research. Several significant relationships involving the four constructs tested, as well as a significant difference between the self-handicapping behaviors of professional and amateur players were found.
In addition, it contains the results of an extensive survey of musicians which examines self-handicapping tendencies, depression, imposter phenomenon, and self-esteem ratings to determine 1) if musicians self-handicap, 2) how the four constructs are related to each other within the musician population, 3) if other factors concerning musicians and self-handicapping are related, 4) areas for future research. Several significant relationships involving the four constructs tested, as well as a significant difference between the self-handicapping behaviors of professional and amateur players were found.
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Jordan, Meggan. "10X THE TALENT = 1/3 OF THE CREDIT: HOW FEMALE MUSICIANS ARE TREATED DIFFERENTLY IN MUSIC." Master's thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/2289.
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This is an exploratory, qualitative study of female musicians and their experiences with discrimination in the music industry. Using semi-structured interviews, I analyze the experiences of nine women, ages 21 to 56, who are working as professional musicians, or who have worked professionally in the past. I ask them how they are treated differently based on their gender. Three forms of subtle discrimination are inferred from their narrative histories. First, female musicians are mistaken for non-musicians. They are encapsulated into inferior roles, like "the gimmick," "good for a girl," and "invisible accessory." Second, band mates and band managers control women's space, success, and artistic freedom. Third, their femininity, sexuality, and age are highly scrutinized. The analysis implies that female musicians are tokenized, devalued, and considered inappropriate for their jobs. Particular attention is paid to the similarities between female musicians and women in male dominated work places. I conclude by discussing the larger implications for gender, music, and social change in a sexist, unregulated industry.M.A.
Department of Sociology
Sciences
Applied Sociology
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Papadopoulos, Kalliopi. "Profession musicien : un don, un héritage, un projet ? /." Paris ; Budapest ; Torino : l'Harmattan, 2004. http://catalogue.bnf.fr/ark:/12148/cb39146180t.
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Schure, Steffen. "Die Geschichte des Stadtmusikantentums in Ulm, 1388-1840 : eine monographische Studie /." Stuttgart : Kommissionsverlag W. Kohlhammer, 2007. http://catalogue.bnf.fr/ark:/12148/cb414262508.
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Handy, Isabelle. "Musiciens au temps des derniers Valois, 1547-1589 /." Paris : H. Champion, 2008. http://catalogue.bnf.fr/ark:/12148/cb41354605h.
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Texte remanié de: Thèse de doctorat--Musicologie--Paris 4, 2000. Titre de soutenance : La vie des musiciens au temps des derniers Valois, 1547-1589.Bibliogr. p. 629-646. Glossaire. Index. ISSN exact : 1155-5475.
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Meidell, Katrin Liza. "Epidemiological Evaluation of Pain Among String Instrumentalists." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68015/.
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Pain and performance anxiety (PA) are common problems among string players. Therefore, the purpose of this study was to assess and compare PA and prevalence rates and locations of pain in violinists, violists, cellists, and bassists. Subjects completed a questionnaire that included sections on demographics, musical background, practice habits, musculoskeletal problems, non-musculoskeletal problems, and PA. Anthropometric data were gathered on all 115 subjects. Results show that there are differences in both pain and PA across instrument groups. Violinists reported the highest number of pain sites, followed by violists, bassists, and cellists. The left shoulder was the most-often reported pain site, followed by the neck and right shoulder. Aching was the most cited term selected to describe pain. Several anthropometric indices were significantly correlated with pain, notably right thumb to index finger span in both cellists and bassists. In all instrument groups, at least one pain site was significantly correlated with one of four PA questions. Results warrant the development of intervention strategies and further study of the relationship between pain and performance anxiety.
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Cruz, Jorge Jr. "A Selective Lineage of Mexican Bassoonists." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011773/.
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Spanish settlers brought the precursor to the bassoon, el bajón, to Mexico in the late sixteenth century. Documentation of the bassoon was intermittently from the sixteenth century on, the current playing traditions were not established until the second half of the twentieth century. Bassoon education in Mexico flourished in the 1970's because several bassoonists became expatriates, and chose to live and work in Mexico for the entirety of their careers. Two major pedagogues, Lazar Stoychev and Jerzy Lemiszka paved the way for the current Mexican bassoon community. This dissertation presents a selective lineage of bassoonists who have held positions in major Mexican orchestras and universities since the mid-twentieth century. The purpose of this study is to recognize the contributions these players and teachers have given to the bassoon world. In recent years, Mexican bassoonists have commissioned hundreds of works for the bassoon and this significant achievement has placed the Mexican bassoon community in an upward trajectory. To place these players in proper historical context, a brief history of classical music institutions in Mexico since the sixteenth century is given. This dissertation documents the history and pedagogy of recent bassoonists in Mexico via a cohesive family tree.
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Adenot, Pauline. "Les musiciens d'orchestre symphonique : de la vocation au désenchantement /." Paris : l'Harmattan, 2008. http://catalogue.bnf.fr/ark:/12148/cb41285444j.
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Texte remanié de: Thèse de doctorat--Musicologie--Paris 4, 2006. Titre de soutenance : Le désenchantement des instrumentistes d'orchestre symphonique en France au début du XXIème siècle.Bibliogr. p. 357-367.
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Crookes, Deborah. "Conceptualizing entrepreneurship in music: A project-based view of entrepreneurship in high art music performance." Thesis, Mälardalen University, School of Sustainable Development of Society and Technology, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mdh:diva-851.
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The concept of entrepreneurship in research and society has been firmly rooted in the realm of economics and business. This narrow focus excludes a large number of entrepreneurial acts that occur outside of economic contexts. The discipline of high art music performance is rich with innovative acts that challenge the boundaries of conventional practices. However, these acts largely go unnoticed because of the strength of the bond between entrepreneurship and economics. In this research paper, a literature review will be used to examine how entrepreneurship can best be conceptualized in the discipline of high art music performance. It is argued here that a project-based view of entrepreneurship (Lindgren & Packendorff 2003) provides a valuable conceptualization to understand entrepreneurship in high art music performance. This conceptualization is then applied to three case studies of Canadian high art music performers. The case study uses the musicians' narrative accounts to provide illustrations of the project-based nature of entrepreneurship in music performance. It is hoped that the findings from this investigation provides further support for a project-based view of entrepreneurship and a starting ground to develop more effective tools to support and develop entrepreneurship in music through education and policy development.
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Raab, Hansen Jutta. "NS-verfolgte Musiker in England : spuren deutscher und österreichischer Flüchtlinge in der britischen Musikkultur /." Hamburg : Von Bockel, 1996. http://catalogue.bnf.fr/ark:/12148/cb36960533b.
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Hill, Dennis R. (Dennis Roy). "An Investigation of the Career Realities and Occupational Concerns of Selected Professional Performing Musicians." Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc330770/.
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The purpose was to investigate the career realities and occupational concerns of successful full-time performing instrumentalists. Four research problems were formulated; (1) the establishment of a demographic profile of musicians who perceived themselves successful; (2) the determination of the musicians' career realities; (3) the determination of the musicians' occupational concerns; and (4) a comparison of the relationship of the demographic profile to the career realities and occupational concerns. A pilot study was used to develop a questionnaire and an interview schedule. The sample for the main study was chosen by the questionnaire and consisted of twenty musicians, five each in the musical categories of jazz, classical, commercial and pop. To resolve research problem one, the questionnaire also collected general demographic data. Research problems two and three were fulfilled by an interview schedule based upon career realities and occupational concerns cited in previous sociological studies. The realities and concerns were either confirmed or refuted by each interviewee. The career realities were role conflict, career contingencies, musical labels, life style, hierarchies, audience relationships and environment. The occupational concerns were mobility, status, entrapment, personal contacts, dependency, security, competition, economic issues, working conditions, travel requirements, appearance, management control, auditions, maintenance of skills and training relevancy. The interviews were taped and transcribed by a court reporter and included in the text. An analysis of the interviews in relation to the demographic data fulfilled research problem four. Results showed that career contingencies, mobility and life style were positive influences for the sampled musicians. Also, a "hierarchy of expertise" appeared as the ultimate occupational hierarchy for the sampled musicians. Furthermore, a "hierarchy of dependency," based upon instrument played, affected the sampled musicians' attitudes toward their careers. It was concluded that performers who were devoting their full time to performance were more tolerant of imperfect career conditions than had been cited in previous studies .
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Vago, Alexandra A. "Musical Life of Amateur Musicians in Vienna, ca. 1814-1825: A Translated Edition of Leopold von Sonnleithner's “Musikalische Skizzen Aus ‘Alt-Wien’” (1861-1863)." Kent State University / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=kent1507733426204934.
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Sundman, Alexandra Gail. "The making of an American expatriate composer in Paris : a contextual study of the music and critical writings of Virgil Thomson, 1921-1940 /." Ann Arbor : UMI, 2001. http://catalogue.bnf.fr/ark:/12148/cb37659587v.
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Branscome, Eric E. "Music Career Opportunities and Career Compatibility: Interviews with University Music Faculty Members and Professional Musicians." Thesis, University of North Texas, 2010. https://digital.library.unt.edu/ark:/67531/metadc28398/.
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This study used a semistructured interview schedule to identify the music career opportunities available to students who graduate with an undergraduate music degree, and the skills, interests, work values, and personal characteristics that may determine a person's suitability for these music careers. Six university faculty members from each of the 11 NASM-accredited undergraduate music degree fields participated in the study (n = 66). Fourteen professional musicians who were recommended by these faculty members also participated in the study. Concerning the musical and non-musical skills that may determine a person's suitability for a music career, participants consistently noted the importance of performance skills in their respective fields. Participants also consistently cited people skills, and noted that most musicians interact with people on a daily basis, and use people skills to build social networks that may lead to employment. When asked about the interests that may lead someone to a music career, participants commonly cited the importance of good high school ensemble experiences in students' music career decisions. Concerning the rewarding aspects of music careers, many participants noted that they were more rewarded by the ability to support themselves doing what they loved, than by fame or wealth. Concerning the personal characteristics that may determine music career compatibility, participants noted that tenacity is essential to contend with intense competition, extended periods of unemployment, and other common struggles of professional musicians. When asked about music career opportunities in their respective fields, participants reported numerous music careers, some of which were excluded from previous music career inventories. In addition, participants noted that there may be careers for non-musicians in some music career fields. Participants also noted that some music careers may be listed in more than one music career field, creating potential confusion for music career advisors. Finally, participants noted transitions in many music careers that may change the professional expectations of these careers.
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Myers, Margaret. "Blowing her own trumpet : European ladies' orchestras and other women musicians 1870-1950 in Sweden /." Göteborg : Universitet, 1993. http://catalogue.bnf.fr/ark:/12148/cb36961969p.
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Freedman, Richard. "Music, musicians and the house of Lorraine during the first half of the sixteenth century /." Ann Arbor (Mich.) : UMI, 2006. http://catalogue.bnf.fr/ark:/12148/cb400634356.
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Young, James A. (James Alan) 1968. "Brief Symptom Inventory : Music and Non-Music Students." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc500917/.
Full textAbstract:
The present study is a comparison of music and non-music students with respect to their response patterns on the Brief Symptom Inventory as well as several demographic questions. The sample consisted of 148 non-music students and 141 music students at three levels: (1) freshmen/sophomore; (2) juniors/seniors; and (3) graduate students. Music students consisted of volunteers from several different music classes and non-music students were volunteers from non-music classes. There were no significant differences found among or between groups for the BSI subscales. However, music students were significantly less likely to have gone to counseling in the past and to seek professional counseling for future problems. Recommendations for psycho-educational interventions with musicians are discussed as well as suggestions for future research.
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Hammarlund, Anders. "Yeni Sesler : nya stämmor : en väg till Musiken i det turkiska Sverige /." Stockholm : Universitet, 1993. http://catalogue.bnf.fr/ark:/12148/cb36969133d.
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Schweisthal, Christofer. "Die Eichstätter Hofkapelle bis zu ihrer Auflösung 1802 : ein Beitrag zur Geschichte der Hofmusik an süddeutschen Residenzen /." Tutzing : H. Schneider, 1997. http://catalogue.bnf.fr/ark:/12148/cb369640019.
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Diepenbrock, Florian. "Eensgezinde tweedracht : organisatievorming van Nederlandse musici in de tweede Gouden Eeuw, 1890-1920 /." Amsterdam : Aksant, 2007. http://catalogue.bnf.fr/ark:/12148/cb41125374s.
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McCall, Sarah B. "The Musical Fallout of Political Activism: Government Investigations of Musicians in the United States, 1930-1960." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277608/.
Full textAbstract:
Government investigations into the motion picture industry are well-documented, as is the widespread blacklisting that was concurrent. Not nearly so well documented are the many investigations of musicians and musical organizations which occurred during this same period. The degree to which various musicians and musical organizations were investigated varied considerably. Some warranted only passing mention, while others were rigorously questioned in formal Congressional hearings. Hanns Eisler was deported as a result of the House Committee on Un-American Activities' (HUAC) investigation into his background and activities in the United States. Leonard Bernstein, Marc Blitzstein, and Aaron Copland are but a few of the prominent composers investigated by the government for their involvement in leftist organizations. The Symphony of the Air was denied visas for a Near East tour after several orchestra members were implicated as Communists. Members of musicians' unions in New York and Los Angeles were called before HUAC hearings because of alleged infiltration by Communists into their ranks. The Metropolitan Music School of New York, led by its president-emeritus, the composer Wallingford Riegger, was the subject of a two day congressional hearing in New York City. There is no way to measure either quantitatively or qualitatively the effect of the period on the music but only the extent to which the activities affected the musicians themselves. The extraordinary paucity of published information about the treatment of the musicians during this period is put into even greater relief when compared to the thorough manner in which the other arts, notably literature and film, have been examined. This work attempts to fill this gap and shed light on a particularly dark chapter in the history of contemporary music.
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Ruddock, Eve. "Ballad of the never picked : a qualitative study of self-perceived non-musicians' perceptions of their musicality." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0103.
Full textAbstract:
Humans are a musical species and every culture has its music. However, twenty individuals out of a cohort of twenty-nine participants in this study judged themselves to be 'not musical'. Through their words, silences and responses, the story of music in the lives of these self-perceived non-musicians uncovered a musical world where concepts of performance, judgment and talent dominate. My investigation into individuals' perceptions of their musicality revealed a pervasive societal belief that individuals were either born 'musical' or they were not; their everyday reality was one where music was perceived as a performance, an object, something that only talented people can 'do'. I planned conversations with participants that aimed to reveal clues that could help to unravel a paradox that lies within music in our Western culture: every young human is intrinsically musical but only some are born with a gift to be musical. Participant convictions that they were not musical deterred some individuals from active engagement in music making. They felt as if they had been left out of the 'musical ballpark'. Details from conversations illustrated a constricting cultural imposition on individuals; this was perpetuated in many schools and also in private music teaching. Data revealed that current educational practice contributed to a denial of a natural birthright and alienated some individuals from being part of a musical community. As their stories revealed failed attempts to engage in music making, iterative contacts created a daunting quantity of data. But there was poetry in participant data. These self-perceived non-musicians simultaneously demonstrated their musicality in the rhythms of their narrative as they denied that they were musical; this emerged as a means to report the research whereby participants' words combined to tell a non-musician's tale. Compelling narrative revealed a society where educational practice does little to address individual musical development. While each story alone was specific and complex, once the stories became woven together as a complex and contradictory whole, the ballad of the never picked captured the essence of a distanced musicality in our Western society. Narrative drove towards meaning. Through interpretation and detailed qualitative analysis, understandings began to emerge from depths of experience and from friction existing within contradictions. Deep within narrative which evolved over a period of five years were perceptions that led to understandings of our cultural reality. Active involvement in this research became part of an emancipatory process for several participants where mutually reflective acts exposed unnecessary impositions from societal expectations. Participant voices uncover a bifurcated reality wherein the musical development of many individuals is undermined through an ignorance of holistic human potential; this musical-unmusical divide is perpetuated in educational practice.