This document examines current practices and opportunities in the music performance field related to artistic citizenship, community engagement, and the field of teaching artistry. The relationship of musicians to their audiences and communities has shifted significantly in the twenty-first century, and there is an increasing need to redefine the essential skills of the professional musician. Derived from the field of teaching artistry, the concept of "activating artistry" suggests that our greatest strength and power as artists lies in drawing out individual artistic expression in other people, and it is with this power that artists as a workforce can create meaningful change in society. This intention could be manifested in many different contexts during the course of a given music career, however, developing the tool kit necessary for engaging in such work is not widely emphasized in the training of musicians. What tools can be provided for students and professionals to help them navigate both traditional and evolving career paths in music? How are bassoonists doing as a field in addressing the imperative of community engagement and artistic citizenship? How might we explore more collaborative ways to engage with our diverse communities – ways that value their perspectives? These questions guide an exploration of current practices in the bassoon field, with an overall goal of providing practical examples, resources, and inspiration for engaging in the work of activating artistry. Central to the discussion is the intersection of the professional bassoonist with the teaching artist field. Examples of lesson plans/strategies and ideas for curating educational performances demonstrate potential uses of the bassoon and its repertoire in teaching artist residencies and other community engagement settings.

Ce mémoire traite des parcours de musiciens migrants d’origine arabe à Montréal. Il s’intéresse à la manière dont ces derniers construisent leurs carrières musicales dans ce contexte et acquièrent la reconnaissance des différents acteurs qu’ils côtoient – pairs, intervenants culturels, public. La méthodologie adoptée est de nature qualitative et correspond à une perspective ethnosociologique, le contexte musical de l’étude inscrivant la démarche dans le domaine de la sociomusicologie. Cinq musiciens ayant migré d’un pays arabe avec une pratique musicale préalable ont été rencontrés, ainsi que cinq acteurs du milieu musical qui interagissent avec eux. Ce corpus d’entretiens a été complété par de l’observation et l’étude de traces (ex. : disques, cv). La démarche d’enquête a permis d’élaborer un ensemble de propositions visant à comprendre les phénomènes sociaux observés. Il apparaît que ces musiciens construisent leurs carrières montréalaises grâce à une actualisation et réappropriation originale des sources et influences musicales accumulées au fil de leur vie, processus néanmoins tributaire des rouages du milieu musical. Celui-ci est constitué de multiples acteurs ayant chacun leurs objectifs, intérêts, contraintes vis-à-vis desquels les musiciens doivent s’ajuster, négocier, faire des compromis. Puis, l’ethnicité arabe qui est construite et mise en scène par les performances musicales peut vraisemblablement agir comme outil pour se démarquer dans le contexte montréalais. Cependant, les dynamiques qui sous-tendent les rapports sociaux que ces artistes entretiennent dans la métropole font en sorte qu’ils ont ultimement peu d’emprise sur la manière dont se manifeste la reconnaissance à leur égard et vis-à-vis de leurs pratiques musicales. / This thesis examines the career paths of migrant musicians of Arab descent living in Montreal. It looks at how they build their musical careers in this context and gain recognition from the various actors they encounter – peers, cultural stakeholders, the public. The methodology adopted is qualitative in nature and corresponds to an ethnosociological perspective, with the musical context of the study placing the approach in the field of sociomusicology. Five musicians with existing musical practices who had migrated from Arab countries were interviewed, along with five members of the musical milieu who interact with them. This series of interviews was supplemented by observation and archival research (ex.: albums, cv). This investigative approach allowed for the elaboration of a set of proposals aiming to understand the observed social phenomena. It would seem that these musicians build their Montreal careers thanks to renewal and original reappropriation of musical sources and influences accumulated throughout their lives, a process that is nevertheless dependant on the workings of the music scene. This milieu is made up of multiple actors with their own objectives, interests, and constraints around which the musicians must adapt, negotiate, and make compromises. Additionally, the Arab ethnicity that is constructed and staged through musical performances can presumably act as a device for standing out in the Montreal scene. However, the dynamics underpinning these artists’ social relationships within the city ultimately give them little control over the manner in which recognition is manifested for the individuals as artists or for their musical practices.

In hierdie studie word die invloed van Unisa se Oorsese Musiekstudiebeurs vir Voordraers op musiekontwikkeling in Suid-Afrika ondersoek. Ten einde hierdie doel te bereik, is twee navorsingsmetodes gevolg. Eerstens is ’n literatuurstudie gedoen. Daardeur is die loopbane van gevestigde en aspirerende uitvoerende kunstenaars ondersoek, die term ‘professionele musikus’ omskryf, die invloed van formele en informele musiekonderrig op jong musiekstudente bestudeer en ook die verhouding tussen ’n onderwys- en uitvoerende loopbaan bloot gelê. Tweedens is ’n vraelys aan al die beskikbare Unisa Oorsese Musiekstudiebeurswenners tussen 1970 en 2000 gestuur. Die doel van die vraelys was hoofsaaklik om inligting oor die persoonlike ervaring wat die persone in die steekproefgroep gedurende hul opleiding in die buiteland en daaropvolgende loopbane opgedoen het, in te win. Beide kwantitatiewe en kwalitatiewe data is deur die navorsingsmetodes bekom. Hoewel die responskoers redelik laag was, is waardevolle inligting ingewin oor die invloed wat Unisa se Oorsese Musiekstudiebeurs op die beurswenners gehad het. Die data het die hoedanighede van die beurswenners se loopbane asook die bydraes wat hulle in uitvoerende en onderwys kapasiteit lewer, aangedui. Die resultate het getoon dat die meerderheid beurswenners wel in Suid-Afrika gevestig is, terwyl die meeste van dié wat oorsee is, Suid-Afrika steeds besoek op ’n professionele basis. Die feit dat die meeste beurswenners suksesvolle musiekloopbane volg en ook meestal hoogs gekwalifiseer is, dui daarop dat Unisa se Oorsese Musiekstudiebeurs ’n integrale deel vorm van die ontwikkeling van Suid-Afrika se musiekbedryf. ENGLISH : This study examines the influence of Unisa’s Overseas Music Scholarship for Performers on the music development of South Africa. Two research methods were used to achieve this. Firstly, a literature study was conducted. This was done to obtain existing information regarding the careers of performing artists, define the term ‘professional musician’, study the influence of formal and informal music education on young music students as well as to uncover the relationship between teaching and performing careers. Secondly, a quesionnaire was sent to all available Unisa Overseas Music Scholarship winners between 1970 and 2000. The aim of the quesionnaire was to gain information regarding the winners’ personal experience of their education and careers. Quantitative and qualitative data was gained through this research method. Although the respons rate was low, valuable information was gathered regarding the influence that the Unisa Overseas Music Scholarship had on the scholarship winners. The data showed the capacity of the scholarship winners’ careers as well as the contribution they make in the performing and teaching environment. The results showed that more scholarship winners settled in South Africa, while many of those who settled overseas, still visit South Africa on a professional basis. The fact that most of the scholarship winners lead sucsessful music careers and are mostly highly qualified, indicates that Unisa’s Overseas Music Scholarship forms an integral part in the development of South Africa’s music industry. / Dissertation (MMus)--University of Pretoria, 2011. / Music / Unrestricted