Dissertation (M.Mus.)-University of Pretoria, 2007. / Abstract in English. Includes bibliographical references.

Thesis (M.A.)--University of Akron, School of Dance, Theatre, and Arts Administration, 2007. / "December, 2007." Title from electronic thesis title page (viewed 02/22/2008) Advisor, Durand L. Pope; Committee members, Guy Victor Bordo, Brooks Toliver; School Director, Neil Sapienza; Dean of the College, James M. Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.

It is the intention in this study to familiarize the reader with the unionization of the music industry. First, there is a discussion of the boundaries of the music industry, followed by a general analysis of musicians as occupational types. This is necessary because of the unique conditions surrounding music--as a profession and as an industry. Second, a brief historical outline, showing, in particular, the growth and decline of rival unionism in Canada. Third, a discussion of the structure of the International and its Federated Locals. Of particular significance here is the position of the International President and the constitutional authority conferred on him. Four, the role of collective bargaining--stressing particularly the American Federation of Musicians' unilateral wage rate determination. Five, the problems of technological change, particularly with respect to the use of records, radio, television and motion pictures. The summary chapter, rather than review what has gone before, utilizes the Report of the Royal Commission on National Development in the Arts, Letters and Sciences to show the insecure position of the musician in Canada. / Arts, Faculty of / Vancouver School of Economics / Graduate

No description available.

Boston University. University Professors Program Senior theses. / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-02

Thesis (Ph. D.)--Ohio State University. / Includes vita. Includes bibliographical references (leaves 171-173). Available online via OhioLINK's ETD Center.

Thesis (doctoral)--Westfälische Wilhelms-Universität zu Münster, 1982. / Vita. Discography: p. 273. Includes bibliographical references (p. 274-286) and index.

I investigated the thought processes of seven artist-level jazz musicians. Although jazz artists in the past have spoken extensively about the improvisational process, most have described improvisation only in general terms or have discussed specific recorded improvisations long after the recordings had been made. To date, no study has attempted to record artists’ perceptions of their improvisational thinking regarding improvisations they had just performed. Seven jazz artists recorded an improvised solo based on a blues chord progression accompanied only by a drum track. New technologies made it possible to notate the recorded material as it was being performed. After completing their improvisations, participants described in a directed interview, during which they listened to their playing and looked at the notation of their solos, the thinking processes that led to the realization of their performances. The interviews were recorded, transcribed, and analyzed using a qualitative research methodology. Six main themes were identified through the coding of the interviews. In all of the interviews, artists described making sketch plans, which outlined one or more musical features of upcoming passages. These plans became increasingly more explicit as the time to play each idea approached. The artists also described monitoring and evaluating their own output as they performed, making judgments that were often incorporated into future planning. Interestingly, the artists at times expressed surprise in hearing what they were playing, indicating that not all of the improvisations were based on ideas that were first imagined before they were played. The artists described four strategies for generating the note content of their improvisations: recalling well-learned ideas from memory and inserting them into the ongoing improvisation, choosing notes based on a harmonic priority, choosing notes based on a melodic priority, and repeating material played in earlier sections of the improvisation. / text

This research examines how the popular music industry has fostered queer female stardom in the greater China area since the 1980s. Compared with other forms of media, music seems easier as a platform to normalize, or even promote open, alternative sexual expressions with its highly affective qualities. With special references to mechanisms of regional singing contests, emphasis is placed primarily on three Chinese female champion-singers: Ho Denise Wan See (HOCC) from Hong Kong, Li Chris Yuchun from mainland China, and Zhang Yun-jing from Taiwan. The project argues that these singing contests contribute to the construction of contemporary transnational stardom, and are especially empowering and to the vocal privilege of emerging female singers. Consumption and reception of their music and sexually indeterminate public imaging will also be discussed as reinforcement of queer stardom and popularity throughout their performance careers. Since the public images and music videos of Ho, Li, and Zhang have constantly involved androgynous outfits and homoerotic imagery, and their subsequent songs loaded with sexually ambivalent or suggestive lyrics, the paper attempts to demonstrate that both their personal life and social responsibilities, both their sexuality and music weigh equally on their career. The star-texts are also important sites for signification and identification to spectators, so issues of fandom will be examined. As the candidate-stars actually grow with their fans in the “player-kill (PK)” context; they serve a mutual projection and monitory entity to mirror one another’s personal conduct and maturation. / published_or_final_version / Comparative Literature / Master / Master of Philosophy

Procedural memory consolidation has been shown to enhance a variety of perceptual and motor skills during sleep. Only recently has this effect been investigated in trained musicians performing music. I tested the extent to which a music performance skill benefited from sleep-based consolidation overnight and whether this process may be inhibited when musicians learn two melodies in juxtaposition. 60 experienced musicians, all nonpianists, learned to perform either one or two 13-note piano melodies during evening training sessions. The musicians practiced each melody with their nondominant hand by repeating it from beginning to end during 12 30-second practice blocks alternating with 30-second rest intervals. All participants were retested on the target melody the following morning in three 30-second retest blocks alternating with 30-second rest intervals. Participants who learned only one melody in the evening showed overnight gains in the number of correct key presses per block (CKP/B) in the target melody at retest. Participants who learned the target melody and an additional melody at training showed no overnight gains in CKP/B in the target melody. Participants who learned both melodies and then immediately were retested on the target melody at training showed overnight gains in CKP/B in the morning retest of the target melody--gains similar to those observed among the participants who learned only the target melody at training; this group showed no decrement in the performance of the target melody in the retest at the end of training, which indicates that there were no immediate interference effects apparent in the target melody after having learned the second melody. These results show that experienced learners performing a familiar type of task, and one that includes auditory processing demands, benefit from overnight consolidation of procedural memories. These benefits may be inhibited, however, when musicians learn similar, competing tasks in juxtaposition. / text