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Gillespie, Wayne, and Brett Myors. "Personality of Rock Musicians." Psychology of Music 28, no. 2 (October 2000): 154–65. http://dx.doi.org/10.1177/0305735600282004.
Carradini, Stephen. "An Organizational Structure of Indie Rock Musicians as Displayed by Facebook Usage." Journal of Technical Writing and Communication 48, no. 2 (September 26, 2016): 151–74. http://dx.doi.org/10.1177/0047281616667677.
Indie rock musicians are a group of extra-institutional individuals who play an often-vibrant role in urban economic development. The organizational structure that guides their professional activities has yet to be investigated. Interviews with 18 indie rock musicians provided a way to investigate organizational structure. They reported a build structure featuring the principles of audience development, slow growth, and unevenness. The constraints of the musician’s professional situation require long-term promotion of aesthetic products to a slowly growing audience in a saturated market that produces unevenness through power imbalances. This slow-growing structure contrasts with organizational structures that provide immediate benefits.
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Niketta, Reiner. "Rock musicians in Germany and ideas for their promotion." Popular Music 17, no. 3 (October 1998): 311–25. http://dx.doi.org/10.1017/s0261143000008576.
In the field of scientific research on popular music there are a number of studies of the reception of rock music and various sociological analyses of the music industry, but there are few studies of rock musicians themselves. The empirical musician studies that do exist tend to use qualitative data analysis and to pursue limited research interests. There is thus work on the formation of rock bands (Jones and Harvey 1980; Schäffer 1996), on cover bands (Groce 1989), on group processes and structures (Groce and Dowell 1988; Tennstedt 1979), on female musicians (Groce and Cooper 1990) and on amateur musicians (Clemens 1983). Studies with standardised questionnaire and quantitative data analysis are rarer (but see Wills and Cooper 1988; and in Germany, Dollase, Rüsenberg and Stollenwerk 1974; Ebbecke and Lüschper 1987; Niketta 1986; Niketta, Niepel and Nonninger 1983; Weber 1990). The problem of these studies is their narrow database, and so I want to report here on a research project designed to provide empirically well-founded but broad-based evidence of the situation of rock musicians in West Germany. The research was undertaken in order to inform strategies for promoting rock music making in Germany (see Zickenheiner 1988). It was financed by the Federal Ministry for Education and Science and the Secretariat for Common Cultural Activities, in co-operation with the Centre for Music and Communication Technology, Wuppertal. The original project report was published in 1993 (Niketta and Volke 1993).
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Axelsson, Alf, Anette Eliasson, and Björn Israelsson. "Hearing in Pop/Rock Musicians." Ear and Hearing 16, no. 3 (June 1995): 245–53. http://dx.doi.org/10.1097/00003446-199506000-00001.
Chesky, Kris, and Miriam A. Henoch. "Instrument-specific Reports of Hearing Loss: Differences between Classical and Nonclassical Musicians." Medical Problems of Performing Artists 15, no. 1 (March 1, 2000): 35–38. http://dx.doi.org/10.21091/mppa.2000.1007.
The purpose of this study was to examine the incidence of hearing problems reported from a heterogeneous group of musicians as a function of both primary performance area and primary instrument. Information for the investigation was obtained from the University of North Texas Musician Health Survey that allows musicians to report medical problems via the World Wide Web. Data were generated from a question regarding the presence or absence of hearing loss. The respondents were grouped according to primary performance area, according to primary instrument, and by primary instrument relative to whether they were classical or non-classical musicians. Results showed that 21.7% of the 3,292 musicians responding perceived having a problem with hearing. Findings showed the highest rate of occurrence was in rock/alternative musicians; in musicians who were included in the nonclassical grouping; and in musicians who played amplified instruments, drum-set, and primary brass instruments. Implications for further research and risk management are discussed.
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Kenny, Dianna T., and Anthony Asher. "Life Expectancy and Cause of Death in Popular Musicians: Is the Popular Musician Lifestyle the Road to Ruin?" Medical Problems of Performing Artists 31, no. 1 (March 1, 2016): 37–44. http://dx.doi.org/10.21091/mppa.2016.1007.
Does a combination of lifestyle pressures and personality, as reflected in genre, lead to the early death of popular musicians? We explored overall mortality, cause of death, and changes in patterns of death over time and by music genre membership in popular musicians who died between 1950 and 2014. The death records of 13,195 popular musicians were coded for age and year of death, cause of death, gender, and music genre. Musician death statistics were compared with age-matched deaths in the US population using actuarial methods. Although the common perception is of a glamorous, free-wheeling lifestyle for this occupational group, the figures tell a very different story. Results showed that popular musicians have shortened life expectancy compared with comparable general populations. Results showed excess mortality from violent deaths (suicide, homicide, accidental death, including vehicular deaths and drug overdoses) and liver disease for each age group studied compared with population mortality patterns. These excess deaths were highest for the under-25-year age group and reduced chronologically thereafter. Overall mortality rates were twice as high compared with the population when averaged over the whole age range. Mortality impacts differed by music genre. In particular, excess suicides and liver-related disease were observed in country, metal, and rock musicians; excess homicides were observed in 6 of the 14 genres, in particular hip hop and rap musicians. For accidental death, actual deaths significantly exceeded expected deaths for country, folk, jazz, metal, pop, punk, and rock.
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Schmuziger, Nicolas, Jochen Patscheke, and Rudolf Probst. "Hearing in Nonprofessional Pop/Rock Musicians." Ear and Hearing 27, no. 4 (August 2006): 321–30. http://dx.doi.org/10.1097/01.aud.0000224737.34907.5e.
Brook, Julia, Robbie MacKay, and Chris Trimmer. "How does a rock musician teach? Examining the pedagogical practices of a self-taught rock musician–educator." Journal of Popular Music Education 3, no. 2 (July 1, 2019): 203–23. http://dx.doi.org/10.1386/jpme.3.2.203_1.
This research examines the pedagogical practices of a self-taught musician who teaches music at an elementary school in Canada. Research on the ways that popular musicians teach has shown that many teachers use a combination of informal and formalized structures. We used Personhood theory as a conceptual framework to illuminate how the context and disposition of the musician–teacher informs their pedagogy. These findings demonstrate how context and disposition inform pedagogical practices and the ways that the teacher’s personhood contributes to students’ learning. We collected data through interviews with the teacher and school principal, distributed questionnaires to students and observed performances. Findings show that one’s personhood can contribute to the medium, message and messenger within a music education setting. Personhood theory helps frame the nested nature of these relationships and these findings point to the need to support development of in-service and pre-service teachers’ personhood.
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Southern, Eileen, Terry Hounsome, Linda J. Sandahl, Galen Gart, and David P. Szatmary. "Rock Record: A Collectors' Directory of Rock Albums and Musicians." Black Perspective in Music 15, no. 1 (1987): 122. http://dx.doi.org/10.2307/1215118.
Wehling, Peter, A. MOLSBERGER, and J. KLEIN. "Der Künstler als Schmerzpatient: Eine Untersuchung über Schmerzen des Bewegungsapparates bei Musikern und ihrer Erwartungen an die Schmerztherapie / THE ARTIST AS A PAIN PATIENT. AN INVESTIGATION ON PAIN IN THE MUSCULOSKELETAL SYSTEM IN MUSICIANS AND THEIR EXPECTATIONS REGARDING PAIN THERAPY." International Jazz Archive Journal 01, no. 1 (October 1, 1993): 88–103. http://dx.doi.org/10.2307/44757981.
Abstract 74 pop/rock/jazz musicians and 100 classical musicians were investigated by means of a specially designed questionnaire. Several social, musical, pain, and health-related questions were asked. Pain of the musculoskeletal system was the main complaint of musicians in both groups (75% classical; 64% rock-pop-jazz). Classical musicians suffer most from neck pain (35%) and the other group mostly from shoulder pain (30%). Specific instruments showed specific musolosceletal pain patterns. 55Λ of the musicians in the classical field were treated by an orthopedic surgeon, whereas 43% of rock/pop/jazz musicians chose no therapy, although they suffered from pain. Only 32% of the classical musicians showed good compliance; 64% believe that medical therapy is not adjusted to the needs of musicians. 98% of the classical musicians and 89% of rock/pop/jazz musicians wish to have a doctor who is specially trained to deal with the needs of musicians. U-Musiker (n = 74) und E-Musiker (n = 100) erhielten einen standartisierten Erhebungsbogen. Der Erhebungsbogen war unterteilt in folgende Fragekomplexe: Allgemeine Fragen: Alter, Geschlecht, Gesundheitszustand, bekannte Grunderkrankungen. Spezielle Fragen: Musikalische Tätigkeit. Vertragsinstrumente und hierdurch bedingte zeitliche und körperliche Belastung; Erkrankungen, die durch die berufliche Tätigkeit ausgelöst sein könnten; (Fach)ärzte, die vom Musiker wegen seiner Schmerzen Arztes durch den Musiker bei der Therapie musikerspezifischer Beschwerden; Compliance des Patienten. Zusätzlich zeigte derFragebogen eine schematische Figur, in der die Musiker ihre vorrangigen Schmerzregionen eintragen konnten. Schmerzen des Bewegungsapparates stehen bein E- (75%) und U- (64%) Musikern im Vordergrund. Besonders häufig sind die Beschwerden im HWS-Bereich (E-Musik = 35%) und Schulterbereich (U-Musik = 30%) lokalisiert. Es gibt Hinweise, daß für bestimmte Vertragsinstrumente typische Lokalisationen der Schmerzen bestehen. Bei E-Musikern wird an erster Stelle der behandelnden Ärzte der Orthopäde aufgesucht (55%), 43% der U-Musiker gehen trotz bestehender Schmerzen in keine medizinische Behandlung. Nur 32% der E-Musiker zeigen eine gute Compliance. 64% glauben, daß die Therapie schlecht auf ihre Bedürfnisse abgestimmt ist. 98% der E-Musiker und 89% der U-Musiker wünschen, wie z.B. im Sport bekannt, einen auf Musikerbelange spezialisierten Arzt.
This thesis is about women rock musicians in the U.K. It is based on in-depth interviews with 36 female rock musicians in the 1980s. Firstly, it examines the relative absence of women in rock music-making and explains this in terms of gender socialisation and a number of social constraints operating on women. Secondly, it looks at those women who, despite all the obstacles, do become rock musicians. A number of variables are put forward which, it is suggested, have helped these women overcome gender constraints. These factors are conceptualised as "escape routes" into rock music-making. Thirdly, all-women bands are examined, and the individual careers of the women who constitute them. An ideal-type model is constructed of the stages of a female band's career. It is concluded that, compared to male bands, there are a whole set of factors which make it more difficult for women's bands to be set up and continue along the career path. These factors have the strongest effect in the early career stages. Lastly, some non-typical career patterns are investigated, and particularly the strategies developed by feminist musicians as alternatives to the mainstream commercial path.
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Kan, Anna. "Undergrounded : Leningrad rock musicians, 1972-86." Thesis, University of Bristol, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.738196.
Faulhaber, Edwin F. "Communicator between worlds Björk reaches beyond the binaries /." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1219186474.
Murphy, Kevin Jones. "Making the Scene: An Investigation of the Rock and Roll Scenes of Nashville, Tennessee, and Athens, Georgia." TopSCHOLAR®, 2004. http://digitalcommons.wku.edu/theses/244.
Making the Scene: An Investigation of the Rock and Roll Scenes of Nashville, Tennessee, and Athens, Georgia, takes a look at the ways in which both the identities of a music scene and the individuals taking part in that scene are created and maintained. Issues of identity are addressed by examining the roles performed by various members of the scene (musicians, soundmen, club owners, etc . . .), by focusing on the influence of landscape, and looking at the ways a scene’s members identify with the cultural region that surrounds their particular scene (in this case both scenes are located in the American South). Data for this thesis was gathered in two ways: through traditional, ethnographic interview with musicians from Athens, and Nashville, and from the author’s personal experience as a member of the Nashville rock Scene from 1990 to 2001. Secondary sources were also consulted. Having analyzed the data, the author concludes that the scene is a function of culture; it is created and sustained through personal interaction and cultural imagination—individuals create and sustain it. Once it is created, once it is constructed, and named, the scene has an affect on the individuals that come to take part in it. It helps to shape their identities. Individuals, however, continue to exert influence over the scene, constantly altering its character.
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Branstetter, Leah Tallen. "Women in Rock and Roll's First Wave." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1555003265733456.
Allen, Tammy Reneé. "A classification of the dress of heavy metal music groups using content analysis /." This resource online, 1993. http://scholar.lib.vt.edu/theses/available/etd-12042009-020120/.
Campbell, Sean. "Second-generation Irish rock musicians in England : cultural studies, pop journalism and musical 'routes'." Thesis, Liverpool John Moores University, 2002. http://researchonline.ljmu.ac.uk/5606/.
This thesis focuses on a relatively under-researched immigrant-descended group: the second-generation Irish in post-war England. Taking popular music as a case study, the thesis examines some of the key ways in which the second-generation Irish have been discursively managed in both academic and journalistic discourses. To this end, the thesis develops a critical dialogue with particular aspects of Irish Studies, British Cultural Studies, and the discourse of popular music journalism. Much of this dialogue is, in turn, refracted through the prism of specific themes and issues, especially those pertaining to assimilation, essentialism, and 'white ethnicity'. In addition to these considerations, the thesis also addresses the question of musical 'routes', examining the variegated aesthetic strategies that have been mobilised by second-generation Irish rock musicians such as John Lydon, Kevin Rowland, Shane MacGowan, Noel Gallagher, and The Smiths. Throughout, the thesis is infonned by a desire to challenge the invisibility of the second-generation Irish in academic and journalistic discourses; to highlight the diversity and complexity of second-generation Irish experience and identity-formation processes; and to point to the productive and diverse ways in which second-generation cultural practitioners have reconfigured popular culture in England.
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Guy, Stephen. "The nature of community in the Newfoundland rock underground /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81493.
Twenty-five years of independent, underground, or punk rock music-making in St. John's, Newfoundland, have been defined by geographic isolation. In tracing a historical record of the small city's punk/indie scene, this project seeks to evaluate recent academic discussion surrounding the role of collectivity in artistic 'independence' and examine the impact of prevailing international aesthetics and changing communication technologies on local practice. The self-containment and self-sufficiency of the St. John's music community, largely the product of the city's isolated position on the extreme eastern tip of a large island off the east coast of North America, provide a unique backdrop against which to foreground a discussion of the distance between indie/punk rhetoric and reality. I contend that 'scene' in popular and academic use refers to the casual aggregation occasioned by similar interest and shared location, while 'community' hints at effort, co-operation and productive support.
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Morrow, Guy Richard. "Managerial creativity a study of artist management practices in the Australian popular music industry /." Phd thesis, Australia : Macquarie University, 2006. http://hdl.handle.net/1959.14/42648.
Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2006. Bibliography: p. 377-385. Introduction -- Literature review, discussion of methodologies and research orientation -- "20% of nothing": Australian rock music management -- Australian country music management -- Australian pop music management: the third party -- Conclusion: managerial creativity. Artist managers 'create' careers for musicians, yet little has been written about their creativity in the academic domain. Thus this thesis develops the notion of managerial creativity. Artist managers build and maintain 'brands', and this is a creative industry function. The thesis begins with a description of what artist management is, then it reviews the way in which various Australian musicians' and artist managers' careers are created and maintained. A musical idea or product arises from the synergy of many sources and not only from the mind of a single person (Csikszentmihalyi, 1996). Therefore it is easier to enhance creativity by changing conditions in the environment the artist is located in than by trying to make artists think more creatively. Managerial creativity involves the creation and maintenance of the system, context or environment from which artistic creativity emerges and is therefore the facet of the music industry that can most effectively enhance musical creativity. Mode of access: World Wide Web. ix, 390 p., ill
Riesel, Victor. "“U.S. Musicians’ Union Says, ‘Beatles Stay Home’”." In The Rock History Reader, 77–80. Third edition. | New York : Routledge, 2018.: Routledge, 2019. http://dx.doi.org/10.4324/9781315394824-18.
Gardner, Abigail. "Ageing with alt-rock and folk." In Ageing and Contemporary Female Musicians, 69–86. Routledge, London; New York: Routledge, 2019. | Series: Interdisciplinary researches in gender: Routledge, 2019. http://dx.doi.org/10.4324/9781315170411-5.
Frith, Simon, Matt Brennan, Martin Cloonan, and Emma Webster. "Rock musicians and their discontents." In The History of Live Music in Britain, Volume 2: 1968–1984, 165–84. Routledge, 2019. http://dx.doi.org/10.4324/9781315557175-11.
"Laneways of the Dead: Memorialising Musicians in Melbourne." In Death and the Rock Star, 119–34. Routledge, 2016. http://dx.doi.org/10.4324/9781315575940-16.
"4. ‘California Dreamin’: Why Canadian Musicians Were Not ‘Helpless’ in the United States, 1965–70." In Canuck Rock, 101–20. Toronto: University of Toronto Press, 2009. http://dx.doi.org/10.3138/9781442697492-006.
Whitehead, Kevin. "The Jazz Musician (and Fan) as Character 1959–2016." In Play the Way You Feel, 285–92. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190847579.003.0010.
This short chapter looks at instances of jazz musicians as characters in mainstream entertainment after 1992. Unreliable narrators tell tall jazz tales, in the film The Legend of 1900 and on TV series The Young Indiana Jones Chronicles. Two jazz musicians save the day in Tom Hanks’s rock movie That Thing You Do! A jazz snob taunts a 1960s folk musician in the Coen brothers’ Inside Llewyn Davis. The discussion also reaches back to some earlier fiction films in which jazz luminaries Louis Armstrong, Duke Ellington, and Anita O’Day perform in incongruously modest venues—ending with Benny Golson’s appearance in Steven Spielberg’s The Terminal. Other films are also discussed.
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Gullberg, Anna-Karin, and Sture Brändström. "Formal and Non-formal Music Learning amongst Rock Musicians." In The Music Practitioner, 161–74. Routledge, 2017. http://dx.doi.org/10.4324/9781315085807-13.
The book’s introduction first discusses why looking back at cinematic rock stars is useful for understanding a present context in which stardom seems to matter little to the industrial work of Hollywood. It then provides a summary of the industrial and media context in which rock stardom became significant for commercial filmmaking, distinguishes the category of “rock stars” from prior popular music stars who transitioned to screen, and articulates a theory of media power with regard to rock stardom that explains how such stars produce commercially valuable performances of difference and protest (particularly through performances of race and gender). The introduction ends with a methodological overview that explains how the book’s select case studies indicate different arrangements of power in rock musicians’ relationships to changing media contexts over their extensive onscreen careers.
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Palmer, Landon. "Coda." In Rock Star/Movie Star, 215–22. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190888404.003.0007.
This chapter concludes the volume with a concise coda that problematizes the genre and medium specificity of categories such as “rock” and “cinema,” and interrogates their relevance to understanding popular music stardom onscreen in the twenty-first century. By exploring several recent visual albums, this coda demonstrates how the history of rock stardom onscreen paved the way for the unification of the feature film and the music video on display in this unique form. Yet, at the same time, visual albums present musicians with renewed opportunity for overt political expression and aesthetic experimentation not seen since late 1960s rock movies. Visual albums are ultimately the latest intersection between the recording industry and moving image media—an intersection that, as this book demonstrates, has a rich and enduring history.
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"Girl Gamers Rock! The Role of the Female in Rock Band’s World of Virtual Musicians." In Videogame Cultures and the Future of Interactive Entertainment, 91–101. BRILL, 2010. http://dx.doi.org/10.1163/9781848880405_011.
