O presente trabalho objetivou, de um lado: reconstituir as trajetórias individuais e coletivas de músicos da noite de Porto Alegre, foram eles: Ari Fernando, Cigano Durque Costa, Luiza Hellena, Jô de Sousa, Gilberto [Pedro] Lara, Sabiá Juvêncio Rodrigues, Paulo Jorge Linier, Eneida Martins, Fabrício Rodrigues, Norminha Duval, Ziláh Machado, Zé Carlos Silveira, Zé da Terreira e outros; de outro lado, através do trabalho de campo realizado entre 2016 e 2017, etnografar o cotidiano dos colaboradores da pesquisa, indivíduos que têm em comum a idade acima de 60 anos, que frequentam o Sindicato dos Músicos do Rio Grande do Sul, a Casa do Artista Rio-Grandense, bares, etc. Através de uma etnomusicologia da memória, busquei compreender os motivos pelos quais alguns músicos são lembrados e outros estão esquecidos socialmente. Ao longo da pesquisa, observei que suas atividades profissionais, iniciadas entre os anos 1950 e 1970, nos circos, cabarés e casas noturnas, têm em comum as relações trabalhistas em condições de subalternidade. Percebi, também, que o esquecimento social que pesa sobre suas carreiras musicais está ligado aos prejuízos sociais causados pelas condições socioeconômicas desfavoráveis, pelo racismo, pela opressão masculina sobre as mulheres e pela velhice. / The present work aimed at reconstituting the individual and collective trajectories of the night musicians of Porto Alegre: Ari Fernando, Cigano Durque Costa, Luiza Hellena, Jô de Sousa, Gilberto [Pedro] Lara, Sabiá Juvêncio Rodrigues, Paulo Jorge Linier, Eneida Martins, Fabrício Rodrigues, Norminha Duval, Ziláh Machado, Zé Carlos Silveira, Zé da Terreira and others; On the other hand, through the fieldwork conducted between 2016 and 2017, ethnographing the daily life of the research collaborators, individuals who have in common the age of over 60, who attend the Sindicato dos Músicos do Rio Grande do Sul, the Casa do Artista Rio-Grandense, pubs, etc. Through an ethnomusicology of memory, I sought to understand the reasons why some musicians are remembered and others are socially forgotten. Throughout the research, I observed that his professional activities, begun between the 1950s and 1970s, in circuses, cabarets and nightclubs, have labor relations in common under subaltern conditions. I also noticed that the social forgetfulness that weighs on their musical careers is linked to the social damages caused by unfavorable socioeconomic conditions, by racism, by male oppression of women and by old age.

高國雄. / "2008年5月". / "2008 nian 5 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 49-50). / Abstracts in Chinese and English. / Gao Guoxiong. / Chapter 【第一章】 --- 引言 --- p.1 / 本文所硏究的範圍及其進路 --- p.1 / 粤語的特色，粤語歌曲的限制 --- p.3 / 本文的硏究進路、方法 --- p.5 / 本文的限制 --- p.6 / Chapter 【第二章】 --- 本地基督新教現代粤語詩歌的發展槪況 --- p.7 / Chapter 【第三章】 --- 一個新的開始 --- p.9 / 本地基督新教現代粤語詩歌的起源 --- p.9 / 陳以誠與《怎能忘記》 --- p.9 / 現代粤語詩歌運動的萌芽一由《齊唱新歌》開始 --- p.11 / 《城市之歌》的特色 --- p.12 / 《齊唱新歌》第一、二集的特色及ACM的誕生 --- p.14 / 《齊唱新歌》的成長期（第一集到第六集） --- p.16 / 教會界不同的反應 --- p.17 / 新的取向（《齊唱新歌》第七、八集) --- p.20 / 《齊唱新歌》的高峰與沒落（第九集） --- p.22 / 《齊唱新歌》成功的因素 --- p.23 / Chapter 【第四章】 --- 「『外展唱片』一要進入世界」 --- p.26 / 「赤道」的誕生 --- p.26 / 「赤道」的成長 --- p.28 / 「赤道」的沒落 --- p.34 / Chapter 【第五章】 --- 一次破天荒的合倂 --- p.39 / 合倂白勺背景 --- p.39 / 合倂的對象:「城市旋律協會」 --- p.41 / 合倂的原因、過程 --- p.42 / 合倂還是吞倂？ --- p.43 / 合倂的影響 --- p.44 / Chapter 【第六章】 --- 綜合與總結 --- p.45 / 經濟的影響 --- p.45 / 教會的支持 --- p.46 / 個別人才的問題 --- p.47 / 永恆的張力 --- p.47 / 現代粤語詩歌的貢獻 --- p.48 / 參考資料 --- p.49 / 附件一 〈本地基督新教現代粤語詩歌(1980-1998)´ؤ覽表〉Error! Bookmark not defi / 附件二 產品圖片 --- p.93

何楠. / "2011年9月". / "2011 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2011. / Includes bibliographical references (leaves 170-177). / Abstract in Chinese and English. / He Nan. / Chapter 第一章 --- 引言 --- p.1 / 獨立搖滾音樂：夾縫中的茁壯 --- p.1 / 80後：最好的一代，最壞的一代 --- p.5 / Chapter 第二章 --- 文獻綜述 --- p.11 / Chapter I. --- 亞文化與亞文化資 本 --- p.11 / Chapter II. --- 原真性 --- p.19 / Chapter III --- 音樂場域與現場表演 --- p.28 / Chapter 第三章 --- 研究問題與研究方法 --- p.40 / 研究問題 --- p.40 / 研究方法 --- p.44 / Chapter 第四章 --- MAO:音樂場域的當代脈搏 --- p.50 / Super-flat： 二維化的無差別世界 --- p.55 / 金屬熔爐：身份感的焦慮再塑 --- p.58 / 昏暗洞穴：便利商店式的多樣可能 --- p.60 / 刻刀與塗改液：塗鴉的社會學暗喻 --- p.62 / 環境控制：時空抽離與去語境化 --- p.65 / MAO之意象：本源缺失的歷史反哺 --- p.67 / Chapter 第五章 --- 家之出走´ؤ´ؤ後逃離時代的身份危機 --- p.69 / 李震一一我在遠方，比遠方更遠 --- p.71 / 小雪´ؤ´ؤ我從來不求被他人理解，被理解類似於自我賣淫 --- p.84 / 家之出走´ؤ´ؤ後逃離時代的身份危機 --- p.90 / Chapter 第六章 --- 我是理想的私生子 --- p.95 / 老木´ؤ´ؤ生活面前，我便裝睡。而你永遠無法叫醒一個裝睡的人 --- p.97 / Jason´ؤ´ؤ只有在音樂裏，我才是個健全的人 --- p.107 / 我是理想的私生子 --- p.116 / Chapter 第七章 --- 拒做“稻草人´ح --- p.119 / 灰灰一一迷失便是對我最大的寬容和尊重 --- p.121 / 二狗´ؤ´ؤ我迷戀詩意的世界 --- p.128 / 拒做“稻草人´ح --- p.135 / Chapter 第八章 --- 獨立搖滾音樂：亞文化資本、原真性、音樂場域/現場演出的角鬥場 --- p.139 / 亞文化資本：POGO之身體政治 --- p.139 / 原真性：理想自我的多重角力 --- p.146 / 音樂場域與現場演出：“情感聯盟´ح與“文化流浪´ح --- p.157 / Chapter 第九章 --- 結語：無身份的人與不確定的狀態 --- p.163 / 參考文獻（中文)： --- p.170 / 參考文獻（英文)： --- p.171 / 附錄：本文所涉及的關鍵名詞之解釋 --- p.178

Orientador: Adriana Giarola Kayama / Banca: Abel Rocha / Banca: Luiz Ricardo Ballestero / Banca: Wladimir Farto Contesini de Mattos / Resumo: Esta tese de doutorado investiga como os egressos do curso de bacharelado em música-habilidade canto da UNESP avaliam sua educação universitária e o impacto que eles acreditam que essa sobre suas trajetórias profissionais. Esta tese encontra respaldo no crescente interesse de IES nos estudos de egressos como método de avaliação institucional. Através de uma abordagem metodológica mista (quantitativa e qualitativa) foi possível traçar as trajetórias musicais e profissionais dos egressos do curso de canto desde o período pré-universitário, passando pelos anos de graduação e escolhas profissionais após a conclusão do curso. A análise dos dados coletados utilizou-se da teoria de campos do sociólogo francês Pierre Bourdieu, que serviu tanto para delimitar um "campo vocal" dentro das atividades profissionais existentes na grande área de música, quanto para explicar como a universidade, pertencente ao campo acadêmico, ignora as especificidades inerentes à área da música, pertencente ao campo da produção artística. O enfraquecimento dos conservatórios e a derrocada do ensino musical na educação básica brasileira transformaram o curso superior em música em uma versão reestruturada do modelo conservatorial. Os resultados nos mostram que a maior parte dos egressos investigados buscavam na UNESP uma formação musical institucional estruturada. Embora o curso de canto tenha sofrido críticas específicas relativas ao seu funcionamento, a maior parte dos egressos consegue se manter economicam... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This doctoral dissertation investigates how alumni from the Bachelor of Music - voice - degree from UNESP evaluate the impact tertiary education had on their professional careers. This thesis is justified by the growing interest that HEIs attribute to alumni studies as a method of institutional evaluation. Using mixed methods of investigation (quantitative and qualitative) it was possible to trace alumni's professional and musical paths beginning from their pre-university years, continuing through their university education and professional choices after graduation. Pierre Bourdieu's theory of social fields was used to interpret collected data and was used in delimiting a "vocal field" within the professional activities within music as a general area, as well as an explanation of how the university, which belongs to the academic field, ignores the inherent specificities of music, which belongs to the field of artistic production. The weakening of conservatories and the collapse of music education in Brazilian primary education have restructured tertiary music education into functioning as version of the conservatory model. The results show that most of the alumni look for an institutionally structured music degree that will tend to basic music training and understanding. Although the voice program was criticized because of operational flaws most of its alumni have been active in the music field, even though not all were able to position themselves professionally as they had e... (Complete abstract click electronic access below) / Doutor

A ansiedade de performance musical (APM) é um subtipo do transtorno de ansiedade social caracterizado pela presença de temores relacionados ao desempenho musical que podem acarretam prejuízos na vida profissional dos músicos. Os sintomas variam de sensações de estresse normais da profissão à sintomas de ansiedade intensos. A literatura sugere que a etiologia da APM envolve aspectos fisiológicos e psicológicos. O conhecimento de outros aspectos como as causas da APM percebidas pelos músicos, estratégias de enfrentamento e variáveis culturais parece importante para uma visão detalhada da APM. O presente projeto teve por objetivo principal descrever o perfil clínico, os aspectos relativos à prevalência, causas percebidas e estratégias de enfrentamento da APM em uma amostra de músicos brasileiros clássicos (GCB) e populares (GPB) e comparar com uma amostra de músicos australianos profissionais (GMA). Foram utilizados diversos instrumentos de auto avaliação em uma amostra de 214 músicos brasileiros (GCB=114; GPB=100) e 376 músicos australianos. Os dados referentes à amostra brasileira foram analisados por meio de programa estatístico específico, em função das variáveis: formação musical, presença/ausência de APM e sexo. Foram realizadas análises comparativas entre músicos clássicos brasileiros e músicos australianos. Adotou-se como nível de significância p<0,05. Os resultados apontam que 38,8% da amostra brasileira apresenta indicadores de APM e não houve diferença significativa de indicadores psiquiátricos entre os grupos GCB e GPB, exceto para subescala social de sensibilidade à ansiedade cuja pontuação média foi maior para o GCP. Quando comparados GCB e GMA, observou-se índices superiores nos indicadores de ansiedade traço, APM e depressão no GCB enquanto o GMA apresentou maiores indicadores de sensibilidade à ansiedade. Os músicos com APM apresentaram um perfil mais comprometido nos indicadores psiquiátricos. Em relação ao sexo, as mulheres apresentaram maiores índices de sensibilidade à ansiedade e depressão. Quanto as causas percebidas de ansiedade, independentemente da condição musical, do sexo e presença/ausência de APM as mais frequentemente apontadas pelos músicos foram a pressão de si próprio, tocar repertório difícil, incertezas ocasionadas por falhas técnicas e preocupação com a reação/avaliação da plateia. Quando comparados em função da formação musical, presença/ausência de APM e país de origem, o GCB, músicos com APM e GMA identificam com maior frequência e significância estatística um maior número de situações causadoras de ansiedade. De forma geral, a maioria das causas percebidas tem locus interno. Quanto às estratégias de enfrentamento, observou-se semelhança nas mais utilizadas independente da formação musical, presença/ausência de APM, sexo e país de origem. As mais utilizadas foram respirar profundamente, aumentar treino, familiarizar-se com local da performance e usar técnicas de relaxamento e, as mais utilizadas também foram efetivas do ponto de vista dos músicos. Nota-se predomínio de estratégias internas aos músicos e baixa procura por recursos externos como profissionais da área da saúde. A APM é uma condição que afeta tanto os músicos brasileiros como os australianos, as causas percebidas de forma geral são associadas a variáveis internas aos músicos que enfrentam esta condição com recursos próprios, com baixa procura por profissionais que poderiam oferecer intervenções mais efetivas. / Musical performance anxiety (MPA) is a subtype of social anxiety disorder characterised by the presence of fear related to musical performance, which can cause impairment in the musician\'s personal and professional life. Symptoms range from the normal stress sensations of the profession to the most intense and harmful anxiety symptoms. The literature suggests that the etiology of MPA involves physiological and psychological aspects. The knowledge of other aspects, such as how MPA causes are perceived by musicians, coping strategies and cultural variables seem important for a detailed view of MPA. The main objective of this project was to describe the clinical profile, prevalence, perceived causes and coping strategy of MPA in a sample of Brazilian classical (GCB) and popular musicians (GPB) and compare them with a sample of Australian professional musicians (GMA). Several instruments of self evaluation were used in a sample of 214 Brazilian musicians (GCB = 114, GPB = 100) and 376 Australian musicians. The data referring to the Brazilian sample were analyzed by means of a specific statistical program, according to the following variables: musical training, presence / absence of MPA and gender. Comparative analysis were performed between Brazilian classical musicians and Australian musicians. The significance level was set at p <0.05. The results indicate that 38.8% of the Brazilian sample presented APM indicators and there was no significant difference of psychiatric indicators between GCB and GPB groups, except for social subscale of anxiety sensitivity wich mean score was higher for GCP. When comparing GCB and GMA, higher indices were observed in trait anxiety, MPA and depression in GCB, whereas GMA showed higher anxiety sensitivity indicators. The musicians with MPA presented a more compromised profile in the psychiatric indicators. In relation to sex, women had higher indices of sensitivity to anxiety and depression. Regarding the perceived causes of anxiety, regardless of the musical condition, sex and presence/absence of MPA, the most frequently pointed out by the musicians were self-pressure, difficult repertoire, uncertainties caused by technical failures and concern with evaluation of the audience. When compared in terms of musical training, presence / absence of MPA and country of origin, the GCB, musicians with MPA and the GMA identify with greater frequency and statistical significance a greater number of situations perceived as causing anxiety. The most perceived causes are internal to the musician. Regarding coping strategies, there was a similarity in the most used, independent of musical training, presence / absence of MPA, gender and country of origin. The most used were to breathe deeply, to increase training, to familiarize oneself with performance set and to use relaxation techniques, and the most used ones were also effective according to musicians. There is predominance of internal strategies of the musicians themselves and low demand for external resources such as health professionals. The MPA affects both Brazilian and Australian musicians. The perceived causes are generally associated with musicians\' internal variables who face this condition with their own resources, with a low demand for professionals who could offer more effective interventions.

This study looks at female musicians performing in subcultural rock genres commonly considered non-gender-conforming, such as punk rock, heavy metal, noise, and experimental. Twenty-four interviews were conducted with female musicians who reflected on their experiences as musicians. Themes emerged on women’s patterns of entry into music, barriers they negotiated while playing, and forces that may push them out of the music scene. Once women gained a musician identity, their gender functioned as a master status. They negotiated sexism when people questioned their abilities, assumed men played better, expected them to fail, held them to conventional gender roles, and sexually objectified them. Normative expectations of women as primary caregivers for children, internalization of criticism, and high personal expectations are considered as factors that contribute to women’s exit from musical careers. This research closes with suggestions for how more women and girls can be socialized into rock music.

Bakgrund Det är välkänt att musiker, studerande såväl som praktiserande, ofta drabbas av smärtproblematik och det finns en hög prevalens för smärta i nacke, skuldra, arm och handområden hos violinister.   Syfte Syftet var att belysa och beskriva violiniststudenters upplevelser av att spela med smärtor/skador och upplevelser om underlättande och försvårande faktorer för spel samt deras upplevelser om behandlingar/möjlighet till behandlingar.   Design och metod Studien har en kvalitativ ansats med en explorativ design med semistrukturerade intervjuer som datainsamlingsmetod.   Resultat Ur analysen identifierades fem kategorier: ”Konsekvenser av smärta och skada vid spel”, ”smärtans påverkan i vardagen”, ”underlättande faktorer för spel”, ”försvårande faktorer för spel”, och ”upplevelser av behandling”. God kunskap hos musikläraren, ergonomi och fysisk träning upplevdes som underlättande faktorer och minskade smärtan. Instrumentets utformning och höga krav upplevdes som försvårande faktorer för spel och påverkade smärtproblematiken negativt. Deras upplevelser av behandling var att vården var oförstående för deras problematik och att mer kunskap om hur de kan få hjälp behövs.   Konklusion Fysisk träning, ergonomi och coping är exempel på faktorer som underlättat för spel och minskat smärtproblematiken hos studenterna. Detta kan vården och specifikt fysioterapeuter hjälpta till med men det behöver utforskas ytterligare för att kunna utveckla anpassade behandlingar för att minska smärtproblematik hos violiniststudenter. / Background It is well known that musicians, both students and working professionals, often are affected by pain related problems and there is a high prevalence for violinists to get pain in the neck, shoulders, arms and hands.   Purpose The purpose of the study was to describe the violin student experiences of pain and/or injuries whilst playing, experiences of aggravating and mitigating factors for playing music and their experiences with therapy/possibilities for therapy.   Design and method The design used was a qualitative and explorative design with semi-structured interviews as the method to collect the data.   Result From the analysis five categories were identified: “Consequences of pain and injurie when playing”, “the pains effect in day to day life”, “aggravating factors for playing”, “mitigating factors for playing” and “experiences with treatments”. The music teacher’s knowledge, ergonomics and physical training was perceived as aggravating factors. The instruments form and high demands was described by the students as mitigating factors for playing music and that it had a negative impact on their pain. Their experiences with therapy/possibilities for therapy was of the sort that the healthcare professionals were uncomprehending about their complex of problems and that more knowledge about how to sufficiently help the students is needed.   Conclusion Physical training, ergonomics and coping are examples of factors that is aggravating for playing and that it has decreased the pain for the students. Healthcare and especially physical therapy can help with this but further research is needed to develop proper treatments to minimize pain for violinist students.

In this thesis I have studied how hypermobile joints affect my violin playing and tried to to find solutions how to cope with hypermobility.  The purpose is to find tools how to change my left-hand technique so that I can play Bach´s Fugue from Solo sonata in g minor in my master concert without pain in my 4th finger and without tension in my left-hand. The goal is to find a way to play with hypermobile joints so that my technique will serve the music in the best possible way.  The biggest questions are: what hypermobility is, how can I cope with it, how to play more relaxed and how to develop a better support for my left-hand little finger, 4th finger.  The thesis will first focus more on the theoretical side of hypermobility in order to get better understanding of what hypermobilty is and how it might affect a violinist. Then I will get more into the aspects of violin playing and my process. After this process I noticed that working with hypermobile joints is a lifelong process. In order to have a good left-hand technique while having hypermobile joints it is crucial to have good muscle control and awareness. The most important thing is to find the right tools that work for yourself while trying to cope with hypermobility.

Self-regulated learning theory explains how it is not only the amount of time musicians spend practising that affects achievement, but also the nature of the strategies employed. Because practice is self-directed, motivational effects on its efficiency are especially salient. One construct that has received little attention in relation to practising is self-determination theory, which interprets motivation as lying along a continuum of perceived autonomy. This mixed-methods study investigated links between motivational beliefs and self-regulated practising behaviour through a two-phase design. In Phase One, 677 music examination candidates aged 8-19 completed a questionnaire consisting of items addressing practising behaviour and perceived musical competence; in addition, the Self-Regulation Questionnaire (SRQ; Ryan & Connell, 1989) was adapted to explore intrinsic-extrinsic motives for learning an instrument. Factor analysis of the SRQ revealed five dimensions with partial correspondence to earlier research: internal, external, social, shame-related, and exam-related motives. Three practice behaviour factors consistent with self-regulated learning theory emerged: effort management, monitoring, and strategy use. Results of structural equation modelling showed that internal motivation accounted best for variance in these three types of practising behaviour, with a small added effect from competence beliefs and exam-related motivation. Phase Two consisted of observational case studies of four of the questionnaire participants preparing for their subsequent annual examination. Adolescent, intermediate-level musicians were recorded while practising at home; immediately afterwards, they watched the videotape and verbalised any recollected thoughts. The procedure concluded with a semi-structured interview and debriefing. The videotapes were analysed with The Observer Video-Pro and combined with verbal data; emerging themes were then compared with issues arising from the interviews. The observational aspect of the case studies largely confirmed the importance of three cyclical self-regulatory processes emerging from Phase One: (a) effort management and motivational self-regulation, (b) the role of self-monitoring of accuracy, and (c) the use of corrective strategies, such as structured repetition, task simplification, and vocalisation. The mixture of quantitative and qualitative methods used in the study has uncovered a rich body of information that begins to clarify the complex motivational and behavioural nature of young people practising a musical instrument.

Includes bibliographical references (leaves 350-359). / xi, 359 leaves : music ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / 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. / Thesis (Ph.D.)--University of Adelaide, Elder Conservatorium, 2001