Per pastaruosius 5-10 metų Lietuvos kultūrinė rinka susiduria su kaip niekad daug probleminio pobūdžio uždavinių. Tai kultūrinės veiklos ir verslo jungčių bei kultūrinių mainų su kitomis Europos ir pasaulio šalimis pasekmė, kuri smarkiai įtakoja Lietuvos muzikinį gyvenimą. Šiame tiriamajame darbe pristatoma asmeninės vadybos tema, atskleidžiant jos vaidmenį profesionalių muzikos atlikėjų veikloje. Iškeliama dviejų profesijų – muzikos atlikėjo ir vadybininko - jungties, vaidmenų pasiskirstymo problematika. Analizuojami giluminių interviu, anketinės apklausos duomenys, Lietuvos muzikos atlikėjų bei kūrėjų praktikos Lietuvoje ir Europos šalyse, apžvelgiami literatūros šaltiniai šia tema, pristatomos vadybininko pareigybės, agentų darbo savitumai. Darbo tikslas – atskleisti asmeninės vadybos vaidmens profesionalių muzikos atlikėjų veikloje reikšmingumą. Šiam tikslui pasiekti išsikelti uždaviniai: 1. pristatyti asmeninę vadybą teoriniu aspektu – apžvelgti literatūrą asmeninės vadybos tema, išskirti pagrindinius asmeninės vadybos dėsnius; 2. apžvelgti vadybos ir muzikinių įgūdžių derinimo aktualumo apraiškas Lietuvos muzikinėje rinkoje; 3. išaiškinti vadybininko pareigybes, agento darbo savitumą; 4. pristatyti Lietuvos menininkų praktikas, taikant asmeninės vadybos žinias profesionalaus muzikos atlikėjo, kūrėjo veikloje Lietuvoje ir Europos šalyse; 5. pateikti prielaidas, optimalaus santykio tarp vadybos ir meno įgūdžių modelio sukūrimui. Remiantis atliktų tyrimų medžiaga... [toliau žr. visą tekstą] / The Lithuanian cultural market, as never before, has faced many various problematic tasks over last five to ten years. This is a result of ties between cultural activities and businesses as well as cultural exchange with countries in Europe and elsewhere in the world, which is considerably influencing the musical life in Lithuania. This research presents the subject of self-management demonstrating its role in the activities of professional music performers. The issues of the link and the role division between two professions – music performer and manager – are raised. The data obtained from in-depth interviews and questionnaires are analysed, as well as the experience Lithuanian music performers and creators gained inside the country and in European countries; literature about the subject is surveyed; the job of the manager and the peculiarities of the agents’ work are presented. The goal of the study is to demonstrate the importance of the role of self-management in the activities of professional music performers. To achieve this goal the following tasks were undertaken: 1. To present self-management from the theoretical aspect – to survey literature about the subject, and to formulate the main laws of self-management; 2. To survey the importance of the conformity between the expression of management and musical skills in the Lithuanian musical market; 3. To explain the job of management and the peculiarities of the agents work; 4. To present the experience applying... [to full text]

Užsienio autoriai atlieka tokius tyrimus, kurių tikslinė grupė – profesionalūs muzikos atlikėjai. Tyrėjų tikslas nustatyti, ar muzikos studijų programa aukštojoje mokykloje tinkamai parengia jaunuosius muzikos atlikėjus, kad jie galėtų būti vadinami profesionalais (Creech, Papageorgi, et. all, 2007). Kiti autoriai analizuoja tokius probleminius klausimus, kaip kintantys muzikos atlikėjo profesionalumo standartai (Smilde, 2007; Tooley, 1998). Neneigiant pastarųjų tyrimų reikšmingumo, aktualu tyrinėti muzikos studijų krypties studentų sėkmingos karjeros sampratą ir veiksmus, siekiant sėkmingos karjeros. Tyrimo objektas – muzikos studijų krypties studentų sėkmingos karjeros samprata ir sėkmingos karjeros strategijos. Problema – prieštaravimas tarp muzikos studijų krypties studentų sėkmingos karjeros sampratos ir sėkmingos karjeros strategijos. Tyrimo klausimai – kokia muzikos studijų krypties studentų sėkmingos karjeros samprata?, kokios muzikos studijų krypties studentų sėkmingos karjeros strategijos? Tikslas – nustatyti muzikos studijų krypties studentų sėkmingos karjeros sampratą ir sėkmingos karjeros strategijas. Tyrimo uždaviniai: 1. Identifikuoti muzikos atlikėjo vaidmenis. 2. Apibrėžti kintančios karjeros sampratą. 3. Apibūdinti sėkmingos karjeros sampratą. 4. Apibrėžti sėkmingos karjeros strategijas. 5. Nustatyti muzikos studijų krypties studentų sėkmingos karjeros sampratą ir sėkmingos karjeros strategijas. Tyrimo metodai: 1. Užsienio autorių straipsnių analizė. 2... [toliau žr. visą tekstą] / There are made various researches that focus on such participants as professional music performers. The aim of those researches is to ascertain does music curriculum of high school is appropriate in order to train qualified professional musicians (Creech, Papageorgi, et. All, 2007). Different authors analyze such kind questions as changing standards of professional music performer (Smilde, 2007; Tooley, 1998). Talking about students of musical studies field, it is important to define their conception of successful career and actions reaching successful career. The object of this research - successful career strategies of students’ of musical studies field The aim of this research - to determine successful career conception and successful career strategies of students’ of musical studies field. The following tasks were formulated in order to achieve the purpose: 1. To identify the roles of music performer. 2. To determine protean career conception. 3. To describe successful career conception. 4. To describe successful career strategies. 5. To determine successful career conception and successful career strategies of students’ of musical studies field. The methods of this research: abroad authors academic articles analysis; qualitative research (semi structured interview) One of the main results of this research is conclusion that successful career conception meanings of students’ of musical studies field belong to different constructs configurations of multidimensional model... [to full text]

The early-twentieth-century culture in western art music of idolizing the composer as the autonomous creative genius has been challenged by recent developments across musicology and creativity research literature. The composer’s music is now regarded as the product of a collaborative network, influenced by all who come into contact with it—first and foremost the performer. Yet, the nature of the performer’s creative impact on the compositional process remains under-explored. This thesis is centred on a qualitative artistic research project, designed to identify and critically evaluate the prospective extent and scope of creative performer agency; it aims to ascertain how a typical lack of familiarity with the instrument may affect the composer’s creative practice, and to reveal key factors that shape the nature and the consequences of composer-performer interaction and collaboration. It proceeds by commissioning new works for guitar from a range of composers for different performers, and by documenting and analysing the processes of collaboration that result. This research agenda challenges the perception of distinct creative roles that remains resilient in present-day cultural understandings and discourse. The findings are intended to broaden understanding of contemporary collaborative practices in the compositional process for the guitar and generalize to the guitar repertoire of the long twentieth century, during which the majority of substantial works were composed in collaboration. The thesis also contributes to a developing and generalizable framework of practice-led research literature that analyses music-making by recognizing the multiple loci and their interactions that underpin all aspects of the creative processes. Chapter 1 discusses the establishment of the creative hegemony of the composer and its opposing currents across disciplines from the late romantic period to the late twentieth century. Chapter 2 comprises an indicative chronology of select collaborations in the long twentieth-century guitar repertoire and an overview of relevant practice-led research projects in performance studies. Ethnographic methodologies are reviewed in Chapter 3 and the fieldwork commissions are analysed in Chapters 4 and 5. Finally, Chapter 6 comprises an evaluation of the performer’s creative agency and its significance when placed in broader frameworks of contemporary guitar practices, contemporary composition across instrumentations, generalizing to historical guitar collaboration and its implications for creativity research.