A relação entre músicos e dores musculoesqueléticas é cada vez mais comum em centro de estudos musicais, tais como, universidades e orquestras. O objetivo desta dissertação foi analisar a razão de chance de ocorrência de dor, variáveis posturais e disfunção em violinistas na cidade de São Paulo. Foram avaliados 38 violinistas com idade de 21.5 ± 4.7 anos. A análise postural foi realizada por meio de fotogrametria com auxílio do software SAPO v.0.63 e de marcadores previamente colocados em referências ósseas, observadas nos planos frontais (anterior e posterior) e sagitais. A avaliação da dor foi realizada por meio da Escala Visual Analógica de Dor (EVA), questionário McGill e a disfunção musculoesquelética pelo questionário DASH. Para o cálculo da probabilidade de ter dor durante o estudo com o violino foi realizado um modelo de regressão logística onde todas as variáveis (posturais, idade, horas de prática e tempo de prática-anos) foram consideradas. Os resultados obtidos para o índice EVA e DASH foram analisados utilizando-se a técnica multivariada k-médias, sendo que as variáveis importantes para discriminação dos grupos em relação à EVA foram a postura da cabeça, a postura do ombro e a cifose torácica e para o índice DASH o desvio lateral da coluna e a inclinação da cabeça. Este estudo encontrou uma relação entre dor, disfunção e variáveis posturais nos violinistas na cidade de São Paulo. O índice DASH apresentou sinais de disfunção que se relacionaram com as variáveis posturais assim como o índice EVA. O Questionário McGill apresentou significância estatística na categoria mista e os violinistas com menos tempo de prática possuem uma média maior de dor / The relation between musicians and musculoskeletal pain is more and more common in musical research centers, like universities and orchestras. The aim of this thesis was to analyze the odds ratio of occurrence of pain, postural changes, and disabilities of violinists in São Paulo. It has been assessed thirty- eight violinists with a mean age of 21.5 ± 4.7 years. Postural analysis was carried out by means of Photogrammetry with the aid of the software SAPO v.0.63 and previously placed in bone markers, observed in the references front (anterior and posterior) and sagittal plane. The assessment of pain was accomplished using Visual Analog Pain Scale (VAS), McGill questionnaire and also Dash questionnaire for musculoskeletal dysfunction. For the calculation of the probability of occurrence of pain, a logistic regression model was employed and all variables related to posture, age, gender, hours of practice, and time of practice were considered. The results regarding the VAS and DASH were analyzed using multivariate techniques, k-media. The most important variables for the discrimination between the groups regarding the VAS scores were head and shoulder posture and thoracic kyphosis and for the DASH index, were the lateral spinal deviation and the head tilt. This study found a relationship between pain, dysfunction and postural variables in violinists in the city of São Paulo. The index DASH presented signs of dysfunction that related with postural variables as well as the VAS index. The McGill Questionnaire showed statistical significance in the mixed category and the violinists with less practice time have a higher average pain

A relação entre músicos e dores musculoesqueléticas é cada vez mais comum em centro de estudos musicais, tais como, universidades e orquestras. O objetivo desta dissertação foi analisar a razão de chance de ocorrência de dor, variáveis posturais e disfunção em violinistas na cidade de São Paulo. Foram avaliados 38 violinistas com idade de 21.5 ± 4.7 anos. A análise postural foi realizada por meio de fotogrametria com auxílio do software SAPO v.0.63 e de marcadores previamente colocados em referências ósseas, observadas nos planos frontais (anterior e posterior) e sagitais. A avaliação da dor foi realizada por meio da Escala Visual Analógica de Dor (EVA), questionário McGill e a disfunção musculoesquelética pelo questionário DASH. Para o cálculo da probabilidade de ter dor durante o estudo com o violino foi realizado um modelo de regressão logística onde todas as variáveis (posturais, idade, horas de prática e tempo de prática-anos) foram consideradas. Os resultados obtidos para o índice EVA e DASH foram analisados utilizando-se a técnica multivariada k-médias, sendo que as variáveis importantes para discriminação dos grupos em relação à EVA foram a postura da cabeça, a postura do ombro e a cifose torácica e para o índice DASH o desvio lateral da coluna e a inclinação da cabeça. Este estudo encontrou uma relação entre dor, disfunção e variáveis posturais nos violinistas na cidade de São Paulo. O índice DASH apresentou sinais de disfunção que se relacionaram com as variáveis posturais assim como o índice EVA. O Questionário McGill apresentou significância estatística na categoria mista e os violinistas com menos tempo de prática possuem uma média maior de dor / The relation between musicians and musculoskeletal pain is more and more common in musical research centers, like universities and orchestras. The aim of this thesis was to analyze the odds ratio of occurrence of pain, postural changes, and disabilities of violinists in São Paulo. It has been assessed thirty- eight violinists with a mean age of 21.5 ± 4.7 years. Postural analysis was carried out by means of Photogrammetry with the aid of the software SAPO v.0.63 and previously placed in bone markers, observed in the references front (anterior and posterior) and sagittal plane. The assessment of pain was accomplished using Visual Analog Pain Scale (VAS), McGill questionnaire and also Dash questionnaire for musculoskeletal dysfunction. For the calculation of the probability of occurrence of pain, a logistic regression model was employed and all variables related to posture, age, gender, hours of practice, and time of practice were considered. The results regarding the VAS and DASH were analyzed using multivariate techniques, k-media. The most important variables for the discrimination between the groups regarding the VAS scores were head and shoulder posture and thoracic kyphosis and for the DASH index, were the lateral spinal deviation and the head tilt. This study found a relationship between pain, dysfunction and postural variables in violinists in the city of São Paulo. The index DASH presented signs of dysfunction that related with postural variables as well as the VAS index. The McGill Questionnaire showed statistical significance in the mixed category and the violinists with less practice time have a higher average pain

The goal of this work is: (a) to present knowledge of the foreign researches on personality of musicians in the arranged form in Czech language, (b) to realize the research carried out in the past under different cultural conditions in modified form in our country, (c) mutually compare the result of this research and the foreign researches, (d) to summarize the conclusions and to establish questions for the further investigation. Artists and other creative individuals evince specific personality characteristics differentiating them from the other people. Among these individuals are also artists in the field of classical music. This work yields a basic information about the difference of the specific personality characteristics of musicians and people who are not involved in music. It sums up existing knowledge on this topic and it creates internally consistent profile of an artist in the field of classical music. In the quantitative research we aim to compare population of conservatory students (n = 57) with the control group - students of grammar school (n = 49). Data of their personality characteristics were obtained with help of Cattel's personality questionnaire 16 PF. Discriminant analysis pointed to differences in five primary factors and one secondary factor of 16 PF. Conservatory students...

In order to evaluate the effects of an integrated curriculum on the learning of popular music, the Sting Curriculum was designed for senior secondary students of mixed ability. This nine week program was presented to a sample of 124 students aged between 16 and 18 years in urban Sydney (Australia).The results of tests conducted indicate that students in the sample achieved high scores when a greater emphasis was placed on performance than on the listening and composition activities. The principal findings of the study suggest that the Sting Curriculum was successful as a vehicle for learning popular music, providing students with an integrated and sequential program that motivated participants to become immersed in the music. Furthermore, in the context of an integrated curriculum, popular music learning was enhanced when teachers utilised a pedgogical approach which emphasised the performance activity. / Doctor of Philosophy (PhD)

<p>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.</p>

<p>I denna uppsats behandlar jag orkestermusikers syn på sitt eget lärande. Hur de studerar in verk och om de har liknande strukturer och lärstilar i sin övning. Undersökningen utfördes med hjälp av att intervjua fem altviolinister ur Stavangers symfoniorkester.Jag har i undersökningen kommit fram till att de fem orkestermedlemmarna har väldigt olika inlärningssätt vad gäller sin egen övning. De visade sig också vara en viss skillnad mellan de som på något sätt ägnat sig åt undervisning mot de som inte har någon koppling till det alls.</p> / <p>This study will deal with how orchestra musicians view their own learning. How they study, and if they have similar structures and learning styles in their practice. The survey is based on the interviews of five viola players from the Stavanger Symphony Orchestra. Through the survey, I discovered that the five musicians from the orchestra had very different ways of learning. There seems to be a certain difference between those that have studied teaching, and those that haven’t</p>

Denna uppsats syftar till att få en inblick i hur frilansande folkmusiker i Sverige gör för att lansera sig själva som artister, vilka redskap som används samt vilken funktion dessa redskap fyller. Detta har undersökts genom kvalitativa intervjuer med fyra frilansmusiker inom den folkmusikaliska genren. Musikbranschens förändrade förutsättningar, ställda i relation till Lundberg, Malm &amp; Ronströms (2000) begrepp görare, vetare och makare, utgör de teoretiska utgångspunkterna för uppsatsen. Dessa begrepp har i uppsatsen omformats till de tre nya begreppen individen, arenan och branschen. Resultatet visar att respondenternas artistlansering är en medveten process som består av många komponenter. Studien lyfter fram och problematiserar artistens entreprenörskap som utöver det konstnärliga utövandet även innefattar roller såsom exempelvis agent, distributör, marknadsförare och företagare. Musikern som individ använder, med utgångspunkt från drivkraften att musicera, branschen och dess arenor för att framhäva sig själv på marknaden. Undersökningen visar indikationer på att det finns essentiella faktorer när det gäller marknadsföring av artister, där grunderna baseras på att tala om att verksamheten finns, förklara vad som är bra med den, upprepa budskapet och sedan leva upp till det. Respondenternas strategier för att försörja sig som frilansmusiker går ut på att med hjälp av olika redskap hålla verksamheten levande och lönsam. Det gör de genom att exempelvis göra sin musik lättillgänglig och visa en tydlig profil samt genom att bygga ett kontaktnätverk, synas i gynnsamma miljöer och dra nytta av olika bidragsmöjligheter. Det har också framkommit att folkmusikernas marknadsföring och varumärkesbildande utförs till största del över Internet via hemsidor, sökmotorer, e-post och sociala medier. / The paper aims to gain insight into how freelance musicians in Sweden are doing to launch themselves as artists, the resources used and their function. This has been examined through qualitative interviews with four freelance musicians in the genre of folk music. The changing conditions of the music industry, in relation to Lundberg, Malm &amp; Ronström’s concept görare, vetare and makare, are the theoretical basis for the paper. These concepts have in the paper been transformed to the three new concepts of the individual, the arena and the industry. The results show that the respondents' role as an artist is a deliberate process that consists of many components. The study highlights and discusses the artist's entrepreneurship that goes beyond the artistic exercise, and also includes roles such as agent, distributor, marketer etc. The musician as an individual, with the urge to make music as a point of departure, uses the industry and it’s arenas to highlight him or herself in the market. The study indicates that there are essential elements in the marketing of artists which are based on informing people about the activity, explain what is good about it, then repeat the message and live up to it. Respondents' approaches to living as a freelance musician is to keep the business alive and profitable by using various tools. They do this for example by making their music accessible, show a clear profile, build a contact network, be seen in favourable environments and take advantage of various funding possibilities. It has also become apparent that the musicians´marketing and trademark creation is carried out largely over the Internet through websites, search engines, email and social media.

I denna uppsats behandlar jag orkestermusikers syn på sitt eget lärande. Hur de studerar in verk och om de har liknande strukturer och lärstilar i sin övning. Undersökningen utfördes med hjälp av att intervjua fem altviolinister ur Stavangers symfoniorkester.Jag har i undersökningen kommit fram till att de fem orkestermedlemmarna har väldigt olika inlärningssätt vad gäller sin egen övning. De visade sig också vara en viss skillnad mellan de som på något sätt ägnat sig åt undervisning mot de som inte har någon koppling till det alls. / This study will deal with how orchestra musicians view their own learning. How they study, and if they have similar structures and learning styles in their practice. The survey is based on the interviews of five viola players from the Stavanger Symphony Orchestra. Through the survey, I discovered that the five musicians from the orchestra had very different ways of learning. There seems to be a certain difference between those that have studied teaching, and those that haven’t

Current scholarship recognizes that music is a powerful channel that can manifest individual identity. But such research takes for granted music as a symbol of collective cultural identity, and, therefore, neglects examining how music in general, but musical performance in particular, functions to produce and reproduce a society at large. Indeed, what is missing is a rigorous understanding of not only how the act of performing forms collective identity, but also how it acts as an agency, indeed, perhaps the only agency that enables this process. As Thomas Turino suggests, externalized musical practice can facilitate the creation of emergent cultural identities, and help in forming life in new cultural surroundings. The present thesis examines the dynamics between cultural identity and music from the perspective of the performing musician. By examining musical situations in the context of the Armenian – Canadian diaspora, I will show how performers themselves both evoke feelings of nostalgia for the homeland and maintain the traditions of their culture through the performance event, while simultaneously serving as cultural ambassadors for the Armenian – Canadian community. My thesis outlines four key themes that are crucial in understanding the roles of musicians in Armenian culture. They are tradition bearer, educator, cultural ambassador, and artisan. As boundaries between peoples and nations progressively blur, I conclude that performance proves a vital medium where a search for national identity can occur, frequently resulting in the realization of one’s ethnic identity. Ultimately, without the labors of the performing musician, music would be unable to do the social work that is necessary in forming cultural, social, or even personal identities.

Current scholarship recognizes that music is a powerful channel that can manifest individual identity. But such research takes for granted music as a symbol of collective cultural identity, and, therefore, neglects examining how music in general, but musical performance in particular, functions to produce and reproduce a society at large. Indeed, what is missing is a rigorous understanding of not only how the act of performing forms collective identity, but also how it acts as an agency, indeed, perhaps the only agency that enables this process. As Thomas Turino suggests, externalized musical practice can facilitate the creation of emergent cultural identities, and help in forming life in new cultural surroundings. The present thesis examines the dynamics between cultural identity and music from the perspective of the performing musician. By examining musical situations in the context of the Armenian – Canadian diaspora, I will show how performers themselves both evoke feelings of nostalgia for the homeland and maintain the traditions of their culture through the performance event, while simultaneously serving as cultural ambassadors for the Armenian – Canadian community. My thesis outlines four key themes that are crucial in understanding the roles of musicians in Armenian culture. They are tradition bearer, educator, cultural ambassador, and artisan. As boundaries between peoples and nations progressively blur, I conclude that performance proves a vital medium where a search for national identity can occur, frequently resulting in the realization of one’s ethnic identity. Ultimately, without the labors of the performing musician, music would be unable to do the social work that is necessary in forming cultural, social, or even personal identities.