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This thesis analyzes elements which contribute to the construction of the artistic identity of the Acadian rap artist Jacobus. Nowadays, many artists perform on the local and international stages from musical, social or linguistic margins. Their success is due to the democratization of production and music broadcasting tools. As this phenomenon becomes more and more common and popular, “marginal” artists and their communities blur the lines between the mainstream and the underground, by the means of performing in their vernacular and promoting these authentic language practices. Jacobus sings in Acadjonne, a variety of Acadian French spoken in la Baie Sainte-Marie, Nova Scotia. By singing in his vernacular, consciously or not, he claims his Acadian identity, as other artists do so with Chiac, another variety of Acadian French (for example, Lisa LeBlanc and Les Hay Babies). Jacobus, as other artists, claims and proclaims his Acadian identity while promoting his vernacular, which has provoked controversial discussions in the media. Through his songs, the artist destroys the stereotypes of rap music. At the same time, he transgresses the linguistics norms by choosing the linguistic minority over the proper, standard French. In this thesis, I analyze the songs from Jacobus’ two solo albums and various aspects of his songs that contribute to the construction of a “marginalized” and authentic artistic identity. This research shows that the artist’s linguistic practices and the fact that he brings the Acadjonne variety on the Québécois, Canadian or even global stages, contribute to the construction of his authentic identity, but also to the spreading of local varieties of French language, which goes against the linguistic imperialism of the ideology of the standard. This linguistic behaviour enhances the actual societal conversation about inclusion and diversity in Canada. / Graduate

This qualitative multiple-case study examined the pedagogical role that performance arts training played in the emergence of students’ mature artistic identities. As one of many instructors in the musical theatre program of a post-secondary college, the author fulfilled both the roles of researcher and studio music teacher. Multiple learning contexts were observed for eight first-year students; these contexts included the regimens in various artistic classrooms and in the vocal studio. The data comprised field observations from studio and classroom settings, individual interviews with eight students from the vocal studio, and audio recordings from their studio sessions. Data analysis revealed that the students’ construction of identity was positively impacted by: the “triple-threat” program components, the unique dyad relationship between the vocal studio teacher and her students, and the rigorous, professional training the students underwent. A study of the interactions amongst the disciplines of music, dance, and drama exhibited several implications in relation to the students’ acute identity experiences. Recommendations for improved musical theatre curricula centred on improved integration of the three disciplines, enhanced studio time, and greater skill development in the studio. Suggestions for future research in performance arts education were also offered. / Thesis (Master, Education) -- Queen's University, 2008-08-12 23:23:52.131

L'objectif de cette thèse est de montrer comment les créateurs des spots publicitaires en Tunisie de 1994 jusqu'à 2007 ont cherché à créer une nouvelle identité artistique transnationale. Et cela suite aux mutations culturelles et sociologiques connues dans ce pays ces dernières années. Dans un premier temps, il me sera primordial d'exposer les différents facteurs identitaires, sociaux, historiques, politiques, communicationnels ... qui ont poussé les créateurs locaux à cette quête inévitable. Dans un second temps, et dans le cadre d'une analyse exhaustive des spots publicitaires, je vérifierai d'abord les résultats auxquels je suis parvenue dans la première partie. Mais, j'essayerai également de montrer la façon avec laquelle les concepteurs ont pu faire une réconciliation avec l'identité arabo-islamique, mémoire des ancêtres des tunisiens et d'une certaine identité moderne, s'inspirant considérablement de la culture globale; tel que le recours aux nouvelles images qui ont permis aux publicitaires de donner une nouvelle apparence à plusieurs codes stéréotypés. Finalement, dans la troisième partie, j'essayerai d'évaluer l'efficacité de cette communication. J'étudierai l'impact de cette nouvelle image publicitaire afin d'en déduire l'action de cette approche artistique récente. / The aim of this thesis is to show how creative commercials in Tunisia from 1994 to 2007 sought to create a new transnational artistic identity. And that following the cultural and sociological mutations known in this country in recent years. At first, I will outline the various key elements of identity, social, historical, political, communicational ... which led local designers to this inevitable quest. In a second time, and as part of a comprehensive analysis of advertising spots, I will check first the results that I achieved in the first part. But I also try to show the way in which the designers have made a reconciliation with the Arab-Islamic identity, memory of' tunisian ancestors and some modern identity, inspired greatly from the global culture, as the use of new images that have allowed advertisers to give a new look to several codes stereotyped. Finally, in the third part, 1 will try to evaluate the effectiveness of this communication. I study the impact of this new advertising image in order to deduce the action of this recent artistic approach.

I projektet ville jag undersöka vilka personliga berättelser som finns hos musikerna vid KMH. Det vi pratar om när vi pratar om musiker är ofta utbildning, teknik och musikaliska förebilder. Men jag tror inte att det är vad musikerna själva vill kommunicera med sin musik. Under min kandidatutbildning på KMH upplevde jag att fokuset på hantverkskunnande överskuggade reflektion kring konstnärlig identitet. Jag ville i detta projekt resonera kring vad som skulle kunna hända om man reflekterade kring de båda lika mycket. Förutom att presentera en scen för de personliga berättelserna ville jag också undersöka andra tillvägagångssätt än de traditionella för både kompositionoch instudering av musik. Kompositionsprocessen har till stor del handlat om semantik som metod för komposition. / When talking about musicians we usually talk about education, technique and musical role models. But I don’t believe that that is what the musicians themselves want to communicate with their music. In this project I wanted to investigate the personal stories of the musicians at KMH. During my education at KMH I've experienced that the reflection about artistic identity was overshadowed by the focus on craftmanship. I wanted to discuss what might happen if one gave the two the same attention. Apart from presenting a scene for the personal stories I also wanted to investigate alternative ways for composing and studying music. An extensive part of the composition process has been about semantics as a method for composition.

Abstract This thesis homes in on Anna-Liisa Antila-Kaljunen (1915–2006), a member of the first generation of the newly established Republic of Finland, exploring her life and work as artist and teacher educator. In addition to archival material, the thesis also utilizes personal recollections of Antila-Kaljunen. The principal aim of the thesis was to investigate how a female secondary school graduate of the 1930’s built a distinguished professional career in three fields: music, education and music education. Her term as the first publicly-elected organist of the Evangelical-Lutheran church made her a pioneer, whose status and professional competence were widely admired in contemporary press reports. Another aim involved comparing the education Antila-Kaljunen received to the development of musical education in Finland. Yet another strand of research examined the interaction between teacherhood and artistic identity. Serving as the methodological backbone of this thesis, life course analysis allowed tracking all changes within Antila-Kaljunen’s lifespan, including transitions, opportunities and restrictions, societal changes, human relationships or educational and work-related choices and activities. For a performing musician, competence and self-efficacy were deemed as central building blocks of agency, while narrative analysis comprised the main tool for studying recollections. In recollections of Antila-Kaljunen, three factors stand out: her significance, exemplarity and influence as teacher. Specific emphasis can be placed on mentoring, which appears to have formed a meaningful undercurrent for a number of her teacher-student relationships, particularly for students with a musical orientation. A key contribution of this thesis involves appreciating and acknowledging a teacher’s work in a wider perspective than just one lifetime. Moreover, the thesis points out how the Second World War shaped the lives and careers of the wartime generation and the choices they made. The road to performing artist was long and winding, but Antila-Kaljunen, who was talented and musically-inclined, eventually got to fulfil her educational and professional ambitions independently and without restrictions. Her achievements as a musician and teacher hinged on an ethos of versatility, manifested through goodness and beauty. / Tiivistelmä Väitöskirjassa tarkastellaan itsenäisen Suomen ensimmäiseen sukupolveen kuuluneen Anna-Liisa Antila-Kaljusen (1915–2006) elämää ja toimintaa taiteilijana ja opettajankouluttajana. Arkistoaineiston lisäksi tutkimuksessa on käytetty hänestä kerättyä muistelukerrontaa. Tutkimuksen tehtävänä oli selvittää miten 1930-luvun naisylioppilas rakensi ammattitaidoltaan korkealle noteeratut urat säveltaiteen, koulutuksen ja musiikkikasvatuksen maailmassa. Jakso Suomen evankelis-luterilaisen kirkon ensimmäisenä virkaan vaalilla valittuna urkurinaisena tekee hänestä uranuurtajan, jonka asemaa ja ammattitaitoa ihailtiin ajan lehdistössä. Toisena tehtävänä oli peilata Antila-Kaljusen saamaa koulutusta musiikkikasvatuksen kehitykseen Suomessa. Tutkimus etsii vastauksia myös opettajuuden ja taiteilijuuden vuorovaikutukseen. Metodologisena kehyksenä tutkimuksessa toimii elämänkulkuanalyysi, jonka avulla elämänkaaren aikana toteutuneet siirtymät, mahdollisuudet ja rajoitukset, yhteiskunnan muutokset, ihmissuhteet ja vaihtuvat koulutukselliset ja työhön liittyvät kuviot todennetaan. Esiintyvän muusikon kohdalla kompetenssi ja minäpystyvyys ilmentävät toimijuuden keskeisiä rakennusosia. Muistojen tutkimuksessa käytettiin apuna narratiivien analyysia. Opettajan merkitys, esikuvallisuus ja vaikutus tulevat näkyviin hänestä kerrotuissa muistoissa. Erityisenä löytönä voi pitää mentoriutta, joka näyttää olleen usean opettaja–oppilas-suhteen virityksenä varsinkin jos opiskelija oli musiikkiorientoitunut. Tämän työn antina voidaan pitää opettajan työn arvostuksen ja merkityksen havaitsemista laajemmin kuin vain yhden elämän perspektiivissä. Se tuo myös ilmi miten sota suuntasi sen kokeneen sukupolven elämänkaarta ja valintoja. Työ osoittaa, että taiteilijaksi oli pitkä tie. Lahjakas ja musiikillisesti orientoitunut Antila-Kaljunen sai toteuttaa koulutukselliset ja ammatilliset ambitiot kotimaassaan itsenäisesti rajoituksista riippumatta. Muusikkona ja opettajana toimiminen vaati monipuolisuuden eetosta, joka hänen kohdallaan toteutui hyvyyden ja kauneuden kautta.

Loin de l’image romantique de l’artiste dénué de tout sens des réalités, tous les secteurs des arts mettent aujourd’hui en place des débats où au terme d’artiste s’adjoint fréquemment celui d’entrepreneur pour qualifier la transformation des activités artistiques. Acteurs majeurs de l’économie créative, les artistes suscitent un intérêt grandissant de la part des observateurs et des chercheurs. Parallèlement, l’encouragement de l’entrepreneuriat dans l’enseignement supérieur et particulièrement dans les filières non commerciales, constitue un enjeu majeur de dynamisation des économies occidentales. Afin d’accompagner ces débats, nous avons étudié la formation des intentions entrepreneuriales des jeunes artistes pour mieux cerner leurs composantes ainsi que les eprésentations sous-jacentes au désir d’entreprendre chez ce public particulier. Trente et un entretiens ont été réalisés auprès d’étudiants des écoles d’art de Bretagne. Les analyses de contenu ont permis de déceler un lien significatif entre l’identité artistique des étudiants et leur intention de créer leur structure. Les résultats permettent d’identifier les différentes composantes de l’intention entrepreneuriale des jeunes artistes ainsi que les représentations sur lesquelles elles se fondent. La discussion des résultats permet, enfin, de montrer que la construction d’une identité artistique forte et la construction d’une intention entrepreneuriale évoluent conjointement et se renforcent mutuellement. / Far from the romantic image of the artist which lacks all sense of reality, today there ismuch discussion about the term artist being frequently linked to that of entrepreneur in allsectors of the arts to reflect the transformation in artistic activities. As major players in thecreative economy, artists are provoking a growing interest among observers and researchers. At the same time, the policy of developing entrepreneurship as a specific discipline in higher education - particularly in non-business studies – constitutes a major challenge to stimulate Western economies. In order to make a contribution to the discussion, we studied and analyzed the development of young artists’ entrepreneurial intentions and the social representations underlying that development.We conducted thirty-one interviews with students in arts schools in Brittany. The findings show a significant link between the artistic identity of the students and their entrepreneurial intent. They also enable us to identify the specificities of that intent. Lastly, the findings show that the building of a strong artistic identity and the construction of an entrepreneurial intent jointly mature and reinforce each other.