Riffs of Change is a storied dissertation that researches the inherent shifts and extensions in musicians' identities as they transform into school teachers. My research explores literary studies, arts-based research and feminist-based literature. I investigate musicians' lives in practicum, university, and schoolbased contexts. I discuss the nature of institutional education and the musicians' conflicts with love, loss, pain, wisdom, and change. The musicians even draw me into my own autobiographical journey. I rediscover that my identity is constructed poetically, psychologically, educationally and philosophically by music and reflect on how this changes the trajectory of my life. I represent my research in the form of eight short stories and an autobiographical account of my experience. The stories are considered creative non-fiction. My dissertation seeks to demonstrate the creation of stories, pedagogy, and research shaped by constructivist philosophy. I examine musicians' beliefs, education, and experiences focusing on their identity issues as they transform into music teachers. The stories confront and challenge, chime wisdom, and steer readers into critical places of thought and unexpected spaces of change. My research found several results. First, some musicians could overcome their conflict if they collaborated in the story writing process, and was mentored by a school advisor that was also a professional musician. Second, story and autobiographical writing were found to be rich research methodology tools. While story writing helped some musicians, autobiography helped me resolve earlier conflicts which drew me back into music. Story authorship has helped me to understand my questions and musings about musicians, music educators, musicians as educators, and musicians becoming music educators. I gained a fresh voice and embraced the notion that I could explore issues from multiple viewpoints and writing styles. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Orientador: Jorge Luís Schroeder / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-24T10:08:19Z (GMT). No. of bitstreams: 1 Podesta_NathanTejadade_M.pdf: 3798991 bytes, checksum: 1acc5dd0297d6fc659980707d4e4176e (MD5) Previous issue date: 2013 / Resumo: Neste trabalho pretendemos debater a noção de autodidatismo na formação musical. Adotamos uma perspectiva histórico-cultural do desenvolvimento musical referenciada em Vigotski (2007); Bakhtin (2003); Schoreder (2005); Gohn (2009); Vincent Lahire e Thin (2001); e Bourdieu (2011). Partindo de uma pesquisa realizada com três professores de música e setenta estudantes de violão, que iniciavam as atividades musicais oferecidas através de um curso livre de música na cidade de Paulínia-SP, levantamos dados que nos permitiram representar o que seria o "senso comum" da área sobre o assunto investigado. Estes dados evidenciaram quatro sentidos gerais associados à noção de autodidatismo na formação musical que debatemos, cruzando informações sobre a formação cultural dos entrevistados com as respostas oferecidas por eles. Observamos a existência de diferentes tipos de processos educativos não-formais e informais de música que tendo sido realizados consciente ou inconscientemente por eles tinham contribuído para os seus desenvolvimentos musicais. Neste processo compreendemos que parte das atividades que leva ao desenvolvimento pode ser conduzida pelo próprio estudante, e ao mesmo tempo, que a noção de autodidatismo evoca critérios eminentemente escolares para afirmar a existência de um processo não-escolar de aprendizagem e desenvolvimento musical que ela não dá conta de explicar por si só, exigindo considerarmos que os diferentes tipos de processos educativos consolidam outras formas de conhecimentos musicais (além dos formalizados, sistematizados) que constituem a musicalidade dos indivíduos. Passamos então à observação da estrutura organizacional da educação musical formal no Brasil (educação básica, ensino de nível técnico e superior) verificando em que medida esta educação musical formal se realiza e situando os outros processos educativos em relação a ela. Observamos as possibilidades de acesso aos cursos superiores de música nos diferentes estados da federação e pudemos notar que apenas recentemente a música popular começou a participar de um modo ainda restrito deste universo formal, predominantemente erudito. Por fim, observamos o processo de formação musical do violonista, guitarrista e compositor Hélio Delmiro que alcançou alto nível de desenvolvimento musical através de uma profunda vivência musical aliada a realização estudos musicais organizados. O fato do músico não se reconhecer como "autodidata" viabiliza uma série de reflexões sobre o assunto. Contribui ainda para destacarmos a impossibilidade de considerarmos apenas um único canal de desenvolvimento musical como possível e de desconsiderarmos outros canais (que não estão diretamente associados à educação formal, escolar, mas que ainda assim podem guardar com ela uma relação), na constituição da musicalidade individual. / Abstract: In this paper, we intend to discuss the concept of auto didacticism in musical education. We adopted a perspective referenced in Vigotski (2007); Bakhtin (2003); Hall (1997)Schoreder (2005); Gohn (2009); Afonso (2001) Vincent Lahire and Thin (2001); and Bourdieu (2011). From a survey performed with three music teachers and seventy guitar students, who were initiating the musical activities provided by a free musical course in the city of Paulínia-SP, we obtained data that allowed us to represent what would be the "common sense" in the area on the investigated subject. These data evidenced four general concepts associated to the notion of auto didacticism which we discuss, crossing information on the cultural formation of the interviewed individuals and the answers provided by them. We observed the existence of different non-formal and informal musical educational processes, which, having been consciously or unconsciously performed, had contributed with their musical development. In this process, we understood that part of the activities that lead to the development may be conducted by the student himself/herself. At the same time, the notion of auto didacticism evokes criteria that eminently school related to affirm the existence of a non-school related learning and musical development process which it cannot explain on its own, and requires us to consider the fact that the diferente types of educational processes consolidate other forms of musical knowledge (other than those formalized, systematized) that constitute the individuals¿ musicality. We then proceeded to the observation of the organization structure of the formal musical education in Brazil (basic education, secondary technical education and higher education) and verified to what extent formal musical education is performed and situate the other educational processes in comparison with it. Finally, we described the musical education process of the acoustic and electric guitarist and composer Hélio Delmiro, who reached a high musical development level through a deep musical experience, associated to the performance of organized musical studies. The examples related renders feasible a series of consideration on the subject. They contributes with the emphasis on the impossibility of considering only one channel for musical development as possible as disregarding others which are not directly associated to formal education, but still may be somehow related to it. / Mestrado / Fundamentos Teoricos / Mestre em Música

Many pianists are impacted by playing-related pain and injury, but a great deal is still unknown about the development and prevention of these problems. Several approaches to piano technique have been developed to provide technical recommendations based on scientific ideas. The anecdotal success of some approaches suggests that understanding the biomechanical concepts underlying them may be beneficial. However, these approaches are rarely discussed in the literature, in part due to linguistic inconsistencies among pedagogical and scientific disciplines. This has created obstacles to scientific evaluation of the claims made by pedagogues, and it has limited the degree to which knowledge transfer can occur among different fields. One approach that has been anecdotally successful in alleviating and preventing playing-related problems is the Taubman Approach, which aims in part to identify certain “sources of tension” that may increase the likelihood of developing physical problems. This study used Qualitative Content Analysis (QCA) to examine sources on the Taubman Approach in order to identify claims about biomechanics underlying two different “Sources of tension:” “Curling” and “Keybedding.” The results from each QCA were then used to propose a biomechanical explanation of these concepts in language that is consistent with current scientific literature. The results of the analysis on “Curling” suggest that actively flexing the DIP/PIP joints requires activating multiarticular muscles, which can lead to increased muscle contraction, forces, and stiffness across multiple degrees of freedom when playing. Motions and positions proposed by the Taubman Approach as alternatives to “Curling” were also examined. The results of the analysis on “Keybedding” indicated that using excess fingertip force once the key is depressed may be problematic. Relevant aspects of the piano mechanism were identified, as well as recommendations for the proper setup at the keyboard that may impact muscle contraction, forces, and stiffness once playing begins. Subjective terms were analyzed to differentiate biomechanical aspects of the recommended way to keep the key depressed from other ways that may be problematic. The hand and forearm were said to have an important role in generating the necessary fingertip force to keep the key depressed without using excessive muscle contraction across the finger joints. Both analyses also identified technical and physical problems that may be relevant to each concept. The findings in this study yielded insights into important issues related to the terminology used to describe piano technique in different contexts. These insights included the need for clear differentiation between subjective and objective language, as well as the need for understanding pedagogical language in context before knowledge transfer can occur.

Singers and songwriters come to Nashville, Tennessee because they consider it the center of the country music universe and the best place to perform their songs as they try and break into the music business. Though few ever experience success in this competitive field, artists continue to arrive in Nashville and many don't have the commercial potential that would allow them the opportunity to perform anywhere but on the city's streets. The film, Street Chords and the Truth: A Street Level View of Country Music, focuses on these interesting performers and their music. Country music has been examined by a handful of ethnomusicologists and is often called the music of everyday life. Many recognize its dependence on ordinary singing styles, common phrasings, southern accents and traditional costuming as central to its identity and critical source of its value as a commodity. While many studies have been conducted focusing commercially popular country music singers and the music industry, few studies been conducted on singers who meet all the critical criteria for country music except commercial viability. This documentary examines country music more as a critical element of cultural identity and less as a commodity.

To determine what type of young men and women are entering the profession of music today as compared with those entering other fields is the purpose of the present investigation. It undertakes a study of ninety advanced music students divided into two groups of forty-five each, those who prefer to do solo work and those who prefer to perform in an ensemble. A control group of fifty advanced students is taken from other fields of study in order to form a basis for judgment of the music students. These groups are compared with respect to age, intelligence, and various personality adjustments.

abstract: The purpose of this document is to identify contemporary issues facing female-identifying professional trombonists today. Interviews were conducted with three prominent women in the international trombone community, including questions that sought to foster discussion on the extent to which their experience as professional trombonists was influenced by their gender. The topic of microaggressions emerged as significant, as it became clear throughout the interview process that these women experience microaggressions far more commonly than overt gender discrimination, as did the topic of coping mechanisms. The interview questions also sparked discussions of identity, self-motivation, and local cultural norms within the context of each woman’s musical career. / Dissertation/Thesis / Doctoral Dissertation Music 2020

The COVID-19 pandemic shook the entire world at the start of 2020, causing aglobal social and economic disruption. This was especially true for those workingwith large groups of people in places like movie theaters, airplanes and live musicvenues. This qualitative study seeks to explain what kind of professional livesmusicians have had to develop during the coronavirus pandemic through emailinterviews. The research relates to the theory of habitus and field. It also relates totheory of strategies and tactics. The focus will be on how musicians from Sweden,Finland and the United States have adjusted to work. The musicians were devastatedand shocked but quick in using tactics to adapt to the situation. There were bigtransformations in plans already made. Some musicians returned to former jobs.Part-time teachers started teaching more through Zoom. A few held live-streamedconcerts. Some musicians had time for side projects while others sought completelynew jobs, which in one case, turned out in his favor. The musicians were almostuniversally hopeful for a brighter future.

The aim of this study was to shed light on the influence of trauma on aspects of musicians’ music-making, particularly but not exclusively limited to its effects on emotional expression and memory during music performance and study. Effects on performers and teachers were considered, explicated and discussed in the light of the rapidly expanding body of knowledge about factors involved in psychological sequelae following exposure to traumatic event(s). Examples are given of how trauma has affected famous musicians and composers. Questionnaires sent to healthcare professionals and music teachers and four case study investigations illuminated specific signs of trauma. Findings underlined that, while responses to trauma are always of a very individual nature, these often particularly affected emotional expression and altered the perceived experience of emotions. Dissociative symptoms were found to affect memory and concentration. Trauma sequelae caused interference, drained energy levels, affected motivation, interpersonal relationships and self-esteem but also led to growth and trauma-catalyzed transformation. Anxiety and tension-related problems had pronounced effects on music performance and high levels of ‘stage fright’ were reported by previously traumatized participants. Trauma was shown to influence the career paths and decisions of musicians. As gleaned from the literature and research surveys, the following therapeutic approaches appear to be effective: Psychotherapy, trauma counselling, Cognitive-Behavioural therapy, hypnotherapy, EMDR (Eye Movement Desensitization and Reprocessing), EMI (Eye Movement Integration), pharmacological treatment, natural supplements, body therapies such as SE (Somatic Experiencing) and complementary techniques such as acupressure. Sound and music were identified by respondents and participants as playing an extremely beneficial role in the healing process. The possible benefits of incorporating alternative healing modalities are discussed, but it is made clear that this should only be used in conjunction with scientifically proven and thoroughly researched psychotherapeutic intervention strategies. This study’s results, appropriately disseminated, are intended to increase awareness and knowledge in performers and teachers, and enable particularly teachers to refer students to appropriate healthcare services in ways not risking further traumatization. Findings can assist healthcare professionals to better understand particular manifestations of trauma responses in musicians and enable them to intervene in more effective ways. / Thesis (DMus)--University of Pretoria, 2010. / Music / unrestricted

Frederick Thurston was a prominent British clarinet performer and teacher in the first half of the 20th century. Due to the brevity of his life and the impact of two world wars, Thurston's legacy is often overlooked among clarinetists in the United States. Thurston's playing inspired 19 composers to write 22 solo and chamber works for him, none of which he personally commissioned. The purpose of this document is to provide a comprehensive biography of Thurston's career as clarinet performer and teacher with a complete bibliography of compositions written for him. With biographical knowledge and access to the few extant recordings of Thurston's playing, clarinetists may gain a fuller understanding of Thurston's ideal clarinet sound and musical ideas. These resources are necessary in order to recognize the qualities about his playing that inspired composers to write for him and to perform these works with the composers' inspiration in mind. Despite the vast list of works written for and dedicated to Thurston, clarinet players in the United States are not familiar with many of these works, and available resources do not include a complete listing. Much of this repertoire remains unexplored and unrecorded yet is suitable for intermediate to advanced level clarinet players.

Performance anxiety and stress are forefront problems for performers in the music industry. Within music training programs, these problems are particularly debilitating. These students are concerned both about performance situations and also their personal lives. The following study compared two treatments, heart rate variability (HRV) biofeedback and Compassion Focused Therapy (CFT) on the effects of cortisol and self-reported stress and mood before and after a required end of semester performance. Thirty students enrolled in a college music program participated in the five-visit intervention (14 in the HRV biofeedback group and 16 in the CFT group). Stress levels, measured by self-report, salivary cortisol, and salivary alpha amylase, showed no group differences between the CFT and HRV groups. Both groups had statistically significant improvement following the intervention on pre-performance DASS scores and alpha-amylase scores, showing lower sympathetic activation and lower report of mood symptoms despite the stress of the required performance. Cortisol and negative affect did not appear to be impacted by the intervention, however, cortisol returned to baseline levels 15 minutes after the intervention, showing relatively quick recovery for both groups. Further research with a larger, more diverse sample and control group is warranted.