This study examines five highly trained musicians who made the life-changing decision to leave their occupations and pursue professions in completely new fields. Portraitures were created to illustrate how these individuals went on to forge successful careers even though their new positions required vastly different skillsets. Through qualitative analysis, it was discovered that numerous skills appear to be transferable from long-term musical training to various career paths. By examining people who have excelled in both domains, common traits were uncovered and grouped into four categories: Cognitive, Expressive, Socio-Behavioral, and Skills Particular to the Craft.The purpose of this research was to identify the skills that musicians can carry over into new professions. Those who may be considering alternative fields of work as well as employers in non-musical arenas may discover that musicians can be desirable candidates for hire because of their numerous transferable skills. Understanding the training process of musicians may also help gather insights for improving curricula which conservatories can employ to prepare graduates for careers. Retrospective feedback from alumni provided this study with a backdrop as to whether coursework offered at their schools aligned with modern industry conditions. After conducting interviews, findings from this study revealed that highly trained musicians do possess many skills that can transfer into new domains, though hard skills should be acquired in the new field. However, the foundation on which a musician's skillset is built provides a formidable bedrock on which a variety of successful careers can be cultivated.

This study explores the complexities of professional performing freelance musicians who teach part-time through arts organizations in multiple educative settings, a condition I refer to as nomadic. Nomadicism is characterized by an inherent sense of itinerancy. Through semi-structured interviews and observations with three participants, I constructed narratives of individual experience through a method of narrative inquiry, which enabled much-needed nuance and complexity, as prior research in the field of teaching artistry has focused mainly on surveys of working conditions with mostly informal anecdotes from the field. The music teaching artists in this study negotiated highly complex careers to extraordinary degrees in which they experienced conflicts between their preparation as highly accomplished performers and their preparation for their work as teachers. While each participant expressed their motivations for pursuing careers as teaching artists in radically different ways, they shared similar patterns of integration and reciprocity between their performing and teaching identities. Participants communicated unique, varied, and idiosyncratic narratives of perceived successes and challenges in preparing, adapting, and negotiating their multiple roles across multiple spaces. While their work had them interacting with students, teachers, administration, family, and musical colleagues, the teaching artists still experienced significant feelings of isolation. Ultimately, each participant articulated the need for openings of dialogical spaces for teaching artists to commune and grow with one another. This study brings a critical perspective to the conditions of music teaching artists and how they and those that prepare and work with them might bring criticality and responsiveness to their unique place within the wider world of arts education.

No description available.

Orientador: Sonia Regina Albano de Lima / Banca: Fábio Miguel / Banca: Silvia Simone Anspach / Resumo: Esta dissertação de mestrado teve como objetivo principal editar 31 obras ainda não publicadas da compositora Adelaide Pereira da Silva e produzir um catálogo comentado dessas obras. Tal trabalho justifica-se considerando se tratar de uma compositora do sexo feminino, em plena atividade, defensora e incentivadora do folclore musical brasileiro e de nossas raízes, que ao longo da sua vida assumiu cargos relevantes nesta área e possui larga experiência como professora de música em escolas e universidades de São Paulo. Para cumprir o objetivo, além da edição das obras, foi realizado um levantamento bibliográfico para conceituar e apresentar as funções direcionadas à edição de obras musicais e referendar o trabalho das mulheres nas diversas subáreas da música. Também foram efetuadas algumas entrevistas e colhidos depoimentos orais da compositora para serem incluídos no catálogo comentado das obras, além da coleta de documentos que descrevem parte da sua trajetória musical (fotos, programas de concerto, premiações, entre outros), reunidos como anexo a este trabalho. As partituras foram editadas através do software FINALE 2012 e registradas na Fundação Biblioteca Nacional (Biblioteca Nacional do Brasil). O trabalho consiste em um capítulo com um sucinto relato do trabalho musical realizado pelas mulheres brasileiras, outro descrevendo parte da trajetória da compositora e um terceiro voltado à edição de partituras. Segue-se a eles o catálogo comentado contendo, além das partituras o... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The main objective of this dissertation was to edit 31 still unpublished works of the composer Adelaide Pereira da Silva, and to produce a commented catalog of these works. This work is relevant because she is a female composer in full activity, a defender and promoter of Brazilian musical folklore and its roots and who, throughout her life, has taken important positions in this area, with wide experience as a music teacher in schools and universities in São Paulo. To accomplish such objective, besides the editing of the sheet music, a bibliographical research was performed in order to conceptualize and present the functions related to the edition of musical works and to document women's work in the several subareas of music. Some interviews and oral testimonies by the composer are to be included in the commented catalog of the works, as well as the collected documents that describe part of her musical trajectory (photos, concert programs, awards, among others), which appear as annexes to this work. Sheet music was edited through FINALE 2012 software and registered at National Library Foundation (National Library of Brazil). The paper includes a chapter presenting a concise history of the musical work of Brazilian women composers, followed by a chapter partially describing the trajectory of Adelaide Pereira da Silva, and a third one, dedicated to the edition of sheet music. The commented catalog contains the sheet music, organized according to the criteria of instrumentation;... (Complete abstract click electronic access below) / Mestre

According to the UK Government, 'disabled people remain significantly less likely to participate in cultural, leisure and sporting activities than non-disabled people' (Department for Work and Pensions & Office for Disability Issues, 2014). Despite this fact, much of the research that relates to disabled people and music is focused on the therapeutic benefits of music and there is a deficit in research that explores disability and music from the perspective of the musicians themselves. The aim of my PhD project was to fill this gap by examining the lived experiences of disabled musicians in order to ascertain what might cause the perceived under-representation of disabled people in the music world. As a musician and music student with mobility and sight impairments, I have first-hand experience of the challenges that can face disabled musicians and these experiences inspired me to explore this area of concern. Consequently, my PhD project is centred on the lived experiences of disabled musicians as they engage in performance and work towards qualifications in music. Thematic analysis was used to analyse data that was collected through 11 semi-structured interviews with disabled musicians and an autoethnographic analysis of my own experiences, both as a disabled musician and PhD researcher. My PhD project shows that disabled musicians encounter a wide range of barriers as they engage in music making or journey towards a qualification in music and that these barriers create significant physical and emotional challenges for disabled individuals. Most of the issues disabled musicians experience occur during performance or while they work towards a qualification in music; these issues are the result of negative attitudes, discrimination and imbued misconceptions. Consequently, there is a need for the lived experiences of disabled people to be better understood by both non-disabled individuals and institutions who provide facilities and services. This improved understanding would allow both service providers and individuals the means to establish and maintain better access to music and music education through the implementation of reasonable adjustments and more positive attitudes towards disabled people.

Virtual Angel is an independent e-zine publication that attempts to frame an emerging canon of self-made, women musicians that work in the margins of Los Angeles’ music and culture industries.

No description available.

Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

This work examines the life of Raffaello Squarise (1856-1945), an Italian maestro who was a leading musician in the city of Dunedin, New Zealand, from 1889 until his retirement in 1933. Squarise worked as a professional in a predominantly amateur musical environment, and this thesis demonstrates his widely-felt presence and discernible influence in Dunedin�s cultural life, through his activities as a violinist, teacher, conductor, and composer. Furthermore, it illustrates the nature of the active musical culture in Dunedin, through Squarise�s participation in established local practices and the contrast provided by the �otherness� of his Italian ethnicity. The thesis shows that a two-way adaptive process took place between Squarise and the Dunedin community, as each engaged with the unfamiliar culture of the other. The success of Squarise�s musical career in the antipodes, it is argued, was based upon his willingness to adapt to the cultural, intellectual, and musical environment of his adopted home. The method used in this study is that of interpretative biography: it conveys the experience of the individual while emphasizing context through the subject�s interaction with his environment. The sources of the research are mainly archival, and include Squarise�s personal papers, newspapers, the archives of local music organizations, and music ephemera. These are augmented by interviews undertaken with some of the few people (nearly sixty years since his death) who knew Squarise. The thesis is a study of the public more than the private man, but the sources are extensive enough to provide a thorough representation of Squarise�s professional activities.

The thesis aims to address a perceived gap in the training and development of music performers, namely the lack of a practical strategies framework for developing performance confidence, especially self-efficacy (situational selfconfidence) in music performance. To this end, a Training Program with Training Manual was designed to assist musicians in the management of practice and performance, using a framework of six integrative mental and physical strategies taken from Sport Performance and applied to Music Performance. Five musicians trialed the Training Program for five weeks. Five individual case studies were constructed to explore and interpret the musicians' practice and performance experiences before and after using the Training Program / Manual. Analyses of in-depth interviews and a follow-up questionnaire revealed that the Training Program had produced positive changes in mental and physical behaviour, along with increased concentration ability and coping skills in stressful situations, resulting in a sense of control in performance. A cross-case analysis revealed that the shared issues of significance for the musicians were Concentration, Stress and Lifestyle Practices, and Sense of Control in practice and performance. This qualitative study demonstrates that a training program addressing the lifestyle context of music performance is beneficial for practice and the lead-up to performance. Confidence in playing ability develops, when practice and performance are perceived to be effectively self-managed and practice becomes a positive experience. The findings of this study suggest the need for a holistic approach to music performance, based on awareness of the mind-body connections involved in performance.