<p>Ireland has long been famous for its rich traditional music. Yet the recent global success of Irish pop, rock and traditional music has transformed the Irish music scene into a world centre attracting musicians, tourists, fans and the music industry from both Ireland and abroad. This ethnographic study of young musicians in Dublin and Galway in the late 1990s analyses the Irish music scene in terms of identity, authenticity and transnationality contextualised in contemporary Ireland.</p><p>The study explores the making of Dublin and Galway into central places in the Irish music scene. It identifies musical links between the cities, and how for the young musicians, Dublin has become a 'springboard' and Galway a 'playground'. These cities provide the local arenas where young folk and popular musicians negotiate individual and collective lifestyles, identities and musical genres. By developing the concept of 'musical pathways', the study shows how these mobile musicians constantly interact with different musical sounds and scenes.</p><p>The idea that Irishness has to emanate from traditional music is challenged by a diversity of musical genres and pathways of the musicians. Some musicians embrace a certain construction of Irishness while others reject it, but they are all involved in this process in one way or another. Contrary to older generations of traditional musicians, a global awareness is more important among the young musicians than a 'restricted' view of Irishness. As the young musicians are interested in multiple musical ideas and influences, they are often reluctant about a 'narrow nationalism'. They make use of the fact that the musics of the contemporary world are very much interconnected.</p><p>This study discusses transnational processes of the Irish music scene in the late 1990s primarily on local and national levels in Ireland. This reveals how globalisation has contributed to the popularity of Irish music, yet without controlling its pathways completely. In Ireland the past is still in the present.</p>

<p>I denna undersökning har jag undersökt idrottares och brassmusikers förberedelser inför prestationstillfällen, d.v.s. konsert, provspelning respektive träning eller match.Min hypotes inför undersökningen var att brassmusiker skulle ha mycket att lära av idrottare som eventuellt har ett mer utvecklat metodiskt tänkande kring hur man förbereder sig fysiskt och mentalt för att kunna prestera med självförtroende på en hög och stabil nivå. Till viss del visade sig detta stämma men i vissa avseenden blev jag förvånad så väl över brassmusikernas medvetenhet som idrottarnas omedvetenhet.Min undersökning består i två enkäter varav den ena riktade sig till brassmusiker och den andra riktade sig till idrottare (utan någon specifikation när det gällde idrottsgren).Dessa enkäter var utformade så lika varandra som möjligt för att möjliggöra så korrekta jämförelser det gick trots de båda gruppernas uppenbara olikheter.</p> / <p>In this study, I have investigated athletes and brass musicians, and their preparation for tense situations that demand performance at a high level. Examples of that could be concerts, auditions respectively competitions, or matches.My hypothesis before this study was that brass musicians could learn from athletes who possibly have a more well-developed methodic thinking with regard to preparations, both physical and mental, with an aim to be able to deliver with self confidence on a high and stabile level of performance.This proved to be partially correct, but in some aspects I was surprised, both considering the musicians’ awareness, but also considering the athletes lack thereof.The research consists of two questionnaires, in which one is directed to brass musicians and the other directed to athletes (without any specification of specific area or sport).These questionnaires were constructed to be as similar as possible to enable as correct comparisons as possible despite the two group’s obvious differences.</p>

Ireland has long been famous for its rich traditional music. Yet the recent global success of Irish pop, rock and traditional music has transformed the Irish music scene into a world centre attracting musicians, tourists, fans and the music industry from both Ireland and abroad. This ethnographic study of young musicians in Dublin and Galway in the late 1990s analyses the Irish music scene in terms of identity, authenticity and transnationality contextualised in contemporary Ireland. The study explores the making of Dublin and Galway into central places in the Irish music scene. It identifies musical links between the cities, and how for the young musicians, Dublin has become a 'springboard' and Galway a 'playground'. These cities provide the local arenas where young folk and popular musicians negotiate individual and collective lifestyles, identities and musical genres. By developing the concept of 'musical pathways', the study shows how these mobile musicians constantly interact with different musical sounds and scenes. The idea that Irishness has to emanate from traditional music is challenged by a diversity of musical genres and pathways of the musicians. Some musicians embrace a certain construction of Irishness while others reject it, but they are all involved in this process in one way or another. Contrary to older generations of traditional musicians, a global awareness is more important among the young musicians than a 'restricted' view of Irishness. As the young musicians are interested in multiple musical ideas and influences, they are often reluctant about a 'narrow nationalism'. They make use of the fact that the musics of the contemporary world are very much interconnected. This study discusses transnational processes of the Irish music scene in the late 1990s primarily on local and national levels in Ireland. This reveals how globalisation has contributed to the popularity of Irish music, yet without controlling its pathways completely. In Ireland the past is still in the present.

I denna undersökning har jag undersökt idrottares och brassmusikers förberedelser inför prestationstillfällen, d.v.s. konsert, provspelning respektive träning eller match.Min hypotes inför undersökningen var att brassmusiker skulle ha mycket att lära av idrottare som eventuellt har ett mer utvecklat metodiskt tänkande kring hur man förbereder sig fysiskt och mentalt för att kunna prestera med självförtroende på en hög och stabil nivå. Till viss del visade sig detta stämma men i vissa avseenden blev jag förvånad så väl över brassmusikernas medvetenhet som idrottarnas omedvetenhet.Min undersökning består i två enkäter varav den ena riktade sig till brassmusiker och den andra riktade sig till idrottare (utan någon specifikation när det gällde idrottsgren).Dessa enkäter var utformade så lika varandra som möjligt för att möjliggöra så korrekta jämförelser det gick trots de båda gruppernas uppenbara olikheter. / In this study, I have investigated athletes and brass musicians, and their preparation for tense situations that demand performance at a high level. Examples of that could be concerts, auditions respectively competitions, or matches.My hypothesis before this study was that brass musicians could learn from athletes who possibly have a more well-developed methodic thinking with regard to preparations, both physical and mental, with an aim to be able to deliver with self confidence on a high and stabile level of performance.This proved to be partially correct, but in some aspects I was surprised, both considering the musicians’ awareness, but also considering the athletes lack thereof.The research consists of two questionnaires, in which one is directed to brass musicians and the other directed to athletes (without any specification of specific area or sport).These questionnaires were constructed to be as similar as possible to enable as correct comparisons as possible despite the two group’s obvious differences.

Thesis (M. Mus. (Perf.))--University of Sydney, 2009. / Title from title screen (viewed October 27, 2009) Submitted in partial fulfilment of the requirements for the degree of Master of Music (Performance) to the Sydney Conservatorium of Music, University of Sydney. Includes bibliographical references.

Thesis (M.Ed.)--York University, 2008. Graduate Programme in Education. / Typescript. Includes bibliographical references (leaves 127-132). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR45946

Thesis (M.M.)--West Virginia University, 2003. / Title from document title page. Document formatted into pages; contains vi, 118 p. Includes abstract. Includes bibliographical references (p. 114-118).

This paper proposes an examination of Creative Commons (CC) licensing and considerations for adoption or non adoption among musicians. According to the Creative Commons Web site, the licenses were created to work alongside current copyright law allowing rights holders a “some rights reserved” copyright (“What is CC?”, Creative Commons, 2010). However, despite its current uptick in adoption, many remain hesitant and refuse to adopt the licenses to protect their work. Moreover, for those who have adopted the licenses, little is known about why they chose to adopt the licenses. Thus, the study answers the need for further research in understanding why musicians choose to use or not to use CC licenses. The study attempts to answer the following question: What considerations determine whether musicians adopt CC licenses for their work? In the pages that follow, I survey the historic and current position of copyright law. Specifically, the paper begins by problematizing current copyright law by demonstrating its economic and social inefficiencies in light of new advancements in technology. In other words, current copyright favors incumbent cultural industries who demand increased economic incentives at the expense of the public’s right to access these works. Moreover, it favors existing content holders who insist on creating laws that retain maximum control over their property. It then questions whether Creative Commons licenses can successfully reconcile these inefficiencies. Moreover, the overarching goal of this research is to examine the perceived viability of these licenses and to consider whether current advocacy efforts adequately address concerns of potential adopters. It analyze information gathered from multiple in-depth interviews of musicians who have and have not adopted the licenses. It will also examine advocacy efforts. The study hopes to contribute qualitative data that will shape future discussions on copyright, culture and new technologies by considering adequacies and or inadequacies of current licenses & advocacy efforts. / text

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Commonly known as nueva canciόn in Puerto Rico or nueva trova in Cuba, “new song” is a 60-year-old genre, a musical form resonant with political overtones. This thesis examines the life and music of Lourdes Pérez, a Puerto Rican singer working in the nueva canciόn tradition. Pérez, who has lived in the U.S. for 20 years, is dedicated through her compositions to create a “newer song,” a form of socially engaged music based on artists of the past but addressing contemporary issues. Through the creation of a diverse community for such music, and collaborations with other Latin American musicians and artists, Pérez has taken the genre in new directions. I examine the various sociopolitical messages conveyed in Pérez’s music through an analysis of the extramusical context of performance. I raise questions about the ways in which globalization affects her work, and about the present-day relevance of the nueva canción song form itself. Since little research has been conducted on nueva canciόn I hope this paper will encourage future work. / text