Målet med den här undersökningen är att undersöka hur yrkesverksamma musiker lär sig nytt material. Undersökningen baseras på fem kvalitativa intervjuer som har genomförts enligt metoder från Kvale (2009). Intervjuerna har sedan tematiserats och analyserats baserat på nyckelord som uppmärksammats under intervjun. Det teoretiska perspektivet som används i undersökningen är baserat på John Deweys pragmatism. Undersökningen visar på, bland annat, att alla deltagare lär sig nytt material till största grad på gehör. Undersökningen visar även att alla deltagare var väldigt fokuserade på just den specifika låten de skulle lära sig, och att de till och med använde sig av den låten när de ville lära sig annan musik för sin egen fortbildningsskull. Tidsbrist var även en tydlig faktor under lärandeprocessen, vilket kan leda till allvarliga negativa konsekvenser för musikerna i framtiden. / The aim of this study is to describe how professional musicians learn new material. The investigation is based on five qualitative interviews that has been conducted with a method described in Kvale (2009). The interviews are then thematised and analysed based on keywords found in the interviews. The theoretical frame of the investigation is based on John Deweys pragmatism. The investigation shows, among other things, that the participants based their learning of new material mainly by ear. The investigation also shows that every participant was very focused on the particular song they wanted to learn, and that they even used that song to practise different exercises for their own personal musical development. Time restraint was also a distinctive factor which could supposedly lead to severe negative consequences for the musicians.

Thesis (MMus (Music))--University of Stellenbosch, 2009. / Die Oranjeklub was the first Afrikaans culture organisation in Cape Town. Active since 1915, it strove to shape Afrikaner identity and advance Afrikaner art and culture. The main aim of the club was to inspire national sentiment, especially among young Afrikaners, and to help cultivate a love in this constituency for their language and history. This national sentiment was nourished by meetings of social and cultural significance. In this respect, Die Oranjeklub played an integral role in early twentieth-century Cape Town to oppose a perceived English political and cultural supremacy, acting as a buffer against the so-called ‘ver-Engelsing’ or Anglicization that was seen to threaten the identity of especially urban Afrikaners. Programmes during meetings usually comprised of a speech, supplemented by music and recital items that were generally contributed by Afrikaans club members. Meetings that deviated from this norm were mainly evenings where plays were performed or festivaloccasions of national importance in which the club was actively involved. The club’s management comprised two levels: an honorary committee and an executive committee. Many historically important figures served on the honorary-committee. The list includes names like D.F. Malan, J.B.M. Hertzog, C.J. Langenhoven and J.C. Smuts, amongst others. The executive committee had equally noteworthy chairmen, like the writer I.D. du Plessis and the critic C.H. Weich. The names of many important musicians can be found on club programmes, including Arnold van Wyk, Blanche Gerstman and Stefans Grové. Important actors and role players in theatre also participated in club events, amongst others Anna Neethling-Pohl, N.P. van Wyk Louw and Sarah Goldblatt. Speakers included personalities like D. Craven, C. Barnard and P.W. Botha. In 1976, after many decades trying to advance culture among white Afrikaners in Cape Town, the club was disbanded. This thesis documents, for the first time, the history of Die Oranjeklub. It also considers the meaning of the club’s cultural activities, especially its efforts to advance music among its members.

Thesis ( MMus (Music))--University of Stellenbosch, 2007. / Steven De Groote (1953-1989) was one of the most successful pianists to have emerged from South Africa. His international reputation rests largely on the fact that he won first prize in the Van Cliburn International Piano Competition in 1977, the only South African to date to have achieved this feat. As such he must be recognized as an important figure in the music history of South Africa. Because the performing musician’s product is transitory in nature and therefore his/her legacy is not tangible in all respects, the introduction to the thesis discusses the specific methodological problems arising from this fact in respect of the writing of a biography. The focus in this biography is on De Groote’s numerous achievements and especially on his career as concert pianist. It includes a discussion of his formative years, his subsequent years of study and the influence of competitions, and more specifically the 1977 Van Cliburn competition on his career. Discussion of his pianistic style, De Groote as teacher and his love for chamber music is also included. De Groote’s contribution to the South African musical scene is highlighted, especially his honorary professorship at the University of Stellenbosch during 1986 and 1987, as are his master classes in this capacity and his regular performances in South Africa. His role as a South African musician abroad is also examined. The biography is concluded with a brief discussion of his airplane accident and the influence this had on his career as a pianist and on his playing.

This thesis provides an in-depth study of a traditional Irish flute player, Jack Coen. Jack, raised in the village of Woodford in County Galway, immigrated to America in 1949 at the age of twenty-four. With his large repertoire of Irish traditional dance tunes, Jack has played music at parties, dances, with the New York Ceilidhe Band, and at festivals such as the 1976 Festival of American Folklife in Washington, D.C. Jack teaches the flute and the tin whistle and is recognized both as a teacher and as a player. By examining Jack Coen’s music we learn about the style, technique, and repertoire of a traditional Irish flute player. And by focusing on the performer, we observe the relationship between the stylistic features of Jacks’ music and his sense of musical aesthetics; that is, his perception of how the traditional Irish flute should sound and the way in which he aims to achieve a musical quality on the flute. From the performer we also understand more about the traditional process of transmission by discovering how the music has been learned, the different situations of performance, and the manner in which the music is taught. This understanding provides us with the knowledge of how the music has been carried on from generation to generation and by whom. In the case of Jack Coen, and the many Irish immigrant musicians who came to America before him, we see how an Irish musical tradition has functioned when transplanted to another culture.

La voix humaine constitue la partie dominante de notre environnement auditif. Non seulement les humains utilisent-ils la voix pour la parole, mais ils sont tout aussi habiles pour en extraire une multitude d’informations pertinentes sur le locuteur. Cette expertise universelle pour la voix humaine se reflète dans la présence d’aires préférentielles à celle-ci le long des sillons temporaux supérieurs. À ce jour, peu de données nous informent sur la nature et le développement de cette réponse sélective à la voix. Dans le domaine visuel, une vaste littérature aborde une problématique semblable en ce qui a trait à la perception des visages. L’étude d’experts visuels a permis de dégager les processus et régions impliqués dans leur expertise et a démontré une forte ressemblance avec ceux utilisés pour les visages. Dans le domaine auditif, très peu d’études se sont penchées sur la comparaison entre l’expertise pour la voix et d’autres catégories auditives, alors que ces comparaisons pourraient contribuer à une meilleure compréhension de la perception vocale et auditive. La présente thèse a pour dessein de préciser la spécificité des processus et régions impliqués dans le traitement de la voix. Pour ce faire, le recrutement de différents types d’experts ainsi que l’utilisation de différentes méthodes expérimentales ont été préconisés. La première étude a évalué l’influence d’une expertise musicale sur le traitement de la voix humaine, à l’aide de tâches comportementales de discrimination de voix et d’instruments de musique. Les résultats ont démontré que les musiciens amateurs étaient meilleurs que les non-musiciens pour discriminer des timbres d’instruments de musique mais aussi les voix humaines, suggérant une généralisation des apprentissages perceptifs causés par la pratique musicale. La seconde étude avait pour but de comparer les potentiels évoqués auditifs liés aux chants d’oiseaux entre des ornithologues amateurs et des participants novices. L’observation d’une distribution topographique différente chez les ornithologues à la présentation des trois catégories sonores (voix, chants d’oiseaux, sons de l’environnement) a rendu les résultats difficiles à interpréter. Dans la troisième étude, il était question de préciser le rôle des aires temporales de la voix dans le traitement de catégories d’expertise chez deux groupes d’experts auditifs, soit des ornithologues amateurs et des luthiers. Les données comportementales ont démontré une interaction entre les deux groupes d’experts et leur catégorie d’expertise respective pour des tâches de discrimination et de mémorisation. Les résultats obtenus en imagerie par résonance magnétique fonctionnelle ont démontré une interaction du même type dans le sillon temporal supérieur gauche et le gyrus cingulaire postérieur gauche. Ainsi, les aires de la voix sont impliquées dans le traitement de stimuli d’expertise dans deux groupes d’experts auditifs différents. Ce résultat suggère que la sélectivité à la voix humaine, telle que retrouvée dans les sillons temporaux supérieurs, pourrait être expliquée par une exposition prolongée à ces stimuli. Les données présentées démontrent plusieurs similitudes comportementales et anatomo-fonctionnelles entre le traitement de la voix et d’autres catégories d’expertise. Ces aspects communs sont explicables par une organisation à la fois fonctionnelle et économique du cerveau. Par conséquent, le traitement de la voix et d’autres catégories sonores se baserait sur les mêmes réseaux neuronaux, sauf en cas de traitement plus poussé. Cette interprétation s’avère particulièrement importante pour proposer une approche intégrative quant à la spécificité du traitement de la voix. / The human voice is the most meaningful sound category of our auditory environment. Not only is the human voice the carrier of speech, but it is also used to extract a wealth of relevant information on the speaker. Voice-sensitive areas have been identified along the superior temporal sulci of normal adult listeners. Yet little data is available on the nature and development of this selective response to voice. In the visual domain, a vast literature focuses on a similar problem regarding face perception. Several studies have identified processes and regions involved in visual expertise, demonstrating a strong resemblance to those used for faces. In the auditory domain, very few studies have compared voice expertise to expertise for other sound categories. Such comparisons could contribute to a better understanding of voice perception and hearing. This thesis aims to clarify the nature of the processes and regions involved in voice perception. Different types of experts and different experimental methods were used in three separate studies. The first study assessed the influence of musical expertise on timbre voice processing, by using using behavioral voice and musical instrument discrimination tasks. The results showed that amateur musicians performed better than non-musicians in both tasks, suggesting a generalization of auditory abilities associated with musical practice. The second study compared event related potentials evoked by birdsongs in bird experts and non-expert participants. Because a different topographical distribution was observed among bird experts in all sound categories, a definitive interpretation was difficult to make. In the third study, we asked whether the voice-sensitive areas would be recruited by different categories of sounds of expertise in guitar makers, bird experts and non-experts. The behavioral data showed an interaction between the two groups of experts and their respective category of expertise for memory and discrimination tasks. The functional magnetic resonance imaging results showed an interaction of the same type in the left superior temporal sulcus and the left posterior cingulate gyrus. The results show that the voice selective areas do not exclusively process voice stimuli but could also contribute to expert-level processing of other sound categories. Therefore, cortical selectivity to human voice could be due to a prolonged exposure to voice. The data presented demonstrate several behavioral and anatomo-functional similarities between cerebral voice processing and other types of auditory expertise. These common aspects can be explained by a functional and economical brain organization. Consequently, sound processing would rely on shared neural networks unless necessary. This interpretation is particularly important to suggest an integrative approach for studying voice processing specificity.

This study is a biography of the life experiences of Nathaniel Clark Smith (1877-1934), an African-American musician, music educator and composer who lived during the early part of America's music education's history. Smith became one of the first international bandmasters to organize bands, orchestras, and glee clubs in schools and industries in the United States. Smith was raised and attended school on a military post. He later received a B.S.M.A. from the Chicago Musical College and a Masters in Composition from the Sherwood School of Music. He taught music at five educational institutions: Tuskegee Institute, Western University, Lincoln, Wendell Phillips and Sumner High Schools. Some of his students became prominent musicians. They were Lionel Hampton, Nat "King" Cole, Milton Hinton, Bennie Moten and Charlie Parker. Smith also worked with industries. He conducted the newsboys band for the Chicago Defender Newspaper and he became the music supervisor for the porters of the Pullman Railroad Company. Smith was stated to have introduced the saxophone to African-Americans and he was considered as one of the first composers to notate spirituals. Smith published over fifty works in America. One of his compositions received a copyright from England. His Negro Folk Suite, published by the Lyon and Healy Publishing Company, was performed by the St. Louis Symphony Orchestra. It received a John Wanamaker Award. His Negro Choral Symphony received a copyright in 1934. Smith became co-owner of the first Music Publishing Company owned by African-Americans, the Smith Jubilee Music Company.

This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.

The English musician William Boyce was known as an organist for the cathedral as well as the Chapel Royal, a composer of both secular and sacred music, a director of large choral festivals, and the editor of Cathedral Music, the finest eighteenth-century edition of English Church music. Among Boyce's compositions for the church are many examples of verse and solo anthems. Part II of this thesis consists of an edition of one verse and three solo anthems selected from British Museum manuscript Additional 40497, transcribed into modern notation, and provided with a realization for organ continuo. Material prefatory to the edition itself, including a biography, a history of the verse and solo anthem from the English Reformation to the middle of the eighteenth century, a discussion .of the characteristics of Boyce's verse and solo anthems, and editorial notes constitute Part I.

Este estudo objetivou identificar, apresentar e analisar, à luz do trabalho imaterial, o trabalho e a estratégia de viver a vida de músico da cena autoral e independente na sociedade do hiperespetáculo. Sua base teórica foi fundamentada sob a noção de trabalho imaterial (GORZ, 2005; GRISCI, 2006; LAZZARATO; NEGRI, 2001), sociedade do espetáculo (DEBORD, 1997) e hiperespetáculo (LIPOVETSKY 2015), indústria musical e cena musical independente (GALLETA 2014; HERSCHMANN, 2012; MAUDONNET, 2015; NETO, 2015; FRANCIS, 2011; VIVEIRO; NAKANO, 2008), e estratégia existencial consumista (BAUMAN, 2008a; BAUMAN; RAUD, 2017). A pesquisa caracterizou-se como exploratória qualitativa e contou com a participação de quatorze músicos da cena autoral e independente que participaram, pelo menos, de um de dois coletivos de músicos da cena autoral e independente de Porto Alegre/RS e que estão ativos na cena. A coleta de dados se deu pela realização de um grupo focal com seis participantes de um dos coletivos mencionados e entrevistas semiestruturadas com outros oito músicos de ambos os coletivos. A análise de conteúdo seguiu orientações de Minayo (2001) e resultou três categorias de análise: (i) (auto)composição e trabalho imaterial: a difícil arte de ser músico da cena autoral e independente; (ii) música e cena autoral e independente; e (iii) estratégia de viver a vida em busca de afinação. O estudo permitiu mostrar o esforço em busca de afinação como estratégia de viver a vida de músico da cena autoral e independente. Algo que se dá em meio a tensão – consentir, resistir – no que diz respeito aos princípios e valores que circulam na cena independente cada vez mais dependente. A estratégia de viver a vida em busca de afinação explicita o debate entre a harmonia e a cacofonia, mostrando-se condizente com a estratégia existencial consumista (BAUMAN, 2008a; BAUMAND; RAUD, 2017). / This study aimed to identify, present and analyze, based on immaterial labor, the work and the strategy of living of the authoral and independent scene musical life in the hyper-spectacle society. Its theoretical basis was grounded on the notion of immaterial labor (GORZ, 2005; GRISCI, 2006; LAZZARATO; NEGRI, 2001), spectacle society (DEBORD, 1997), hyper-spectacle society (LIPOVETSKY 2015), music industry and independent musical scene (GALLETA 2014; HERSCHMANN, 2012; MAUDONNET, 2015; NETO, 2015; FRANCIS, 2011; VIVEIRO; NAKANO, 2008) and existential consumerist strategy (BAUMAN, 2008a, BAUMAND, RAUD, 2017). The research was characterized as qualitative exploratory and reached the participation of fourteen authoral and independent scene musicians who have participated at least in one of two collective of musicians of the authorial and independent scene of Porto Alegre/RS and that are active in the scene . The data collection occurred through a focus group with six participants from one of the mentioned collectives and semi-structured interviews with eight other musicians from both collectives. Content analysis followed Minayo's (2001) instructions and supported three categories of analysis: (i) (self)composition and immaterial labor: the hard art of being authorial and independent scene musician; (ii) music and authorial and independent scene; and (iii) the strategy of living life looking for tuning. The study allowed to show the effort in looking for tuning as a strategy of living the authoral and independent scene musicians life. Something that occurs through the tension – consenting, resisting – regarding to the principles and values that circulate in the independent scene, increasingly dependent. The strategy of living life looking for tuning explicitly explains the debate between harmony and cacophony, showing itself to consistent with the existential consumerist strategy (BAUMAN, 2008a; BAUMAND, RAUD, 2017).

Dedicamos estudar neste trabalho o ofício da música nas vilas de Recife e Olinda ao longo do século XVIII. Neste caso, partindo de um olhar etnomusicológico de um espaço-tempo histórico e com atenção aos conceitos "nativos", propomos compreender a partir dos esboços das trajetórias de cinco músicos e de suas redes de relações o exercício profissional dos músicos e suas práticas musicais no contexto sociocultural das vilas de Recife e Olinda. Assim, conseguimos perceber a existência de diversas compatibilidades culturais e estético/performáticas da música com o centro do Império Português, resultante dos frequentes trânsitos e comunicações dos músicos dos dois lados do Atlântico, o que justifica a frequente atuação na metrópole dos músicos transitados da capitania de Pernambuco para com uma forte rede clientelar lisboeta ao longo do século XVIII, composta pelos ricos comerciantes e mercadores, mas também pela alta nobreza e pelo alto clero. No espaço de Recife e Olinda propomos compreender como os músicos se articulavam em torno dos compartilhamentos, práticas e exercício profissional da música em uma sociedade altamente hierarquizada como a do Antigo Regime. Assim, percebemos a existência de uma "hierarquia do ofício da música", resultante não apenas do acúmulo de conhecimento prático e especulativo, mas também das redes clientelares constituída por esses músicos. Essas redes clientelares, fomentadoras inclusive dos trânsitos dos músicos à metrópole, eram responsáveis também por um subjetivo controle do ofício da música em grande parte dos setecentos, ao mediar a atuação dos músicos sob suas proteções. Entretanto, na segunda metade do século XVIII, ocorreu um aumento no número de músicos e uma redução dos serviços para com essas redes clientelares, decorrente das políticas econômicas das reformas pombalinas, o que resultou na necessidade da organização e controle do ofício da música na vila do Recife, acontecimentos que impulsionaram a constituição da Irmandade de Santa Cecília do Recife. Assim, ao construirmos os esboços das cinco trajetórias com suas redes de relações, tendo atenção ao contexto sociocultural desses músicos, conseguimos extrair e aprofundar questões subjetivas de possíveis práticas normativas musicais e sociais, possibilitando contribuir e avançar nos estudos musicológicos brasileiros, no sentido de uma maior compreensão dos músicos e das práticas musicais setecentistas da América Portuguesa. / This thesis studies the music craft in the villages of Recife and Olinda throughout the 18th century. Departing from an ethnomusicological perspective on this social space allied with an attention to "native" concepts, we propose to cover the trajectories of five musicians and their professional networks as well as their musical practices in the sociocultural context of these colonial villages. Thus, we can perceive the coexistence of diverse cultural and performative compatibilities of these musical practices with the center of the Portuguese Empire, as a result of the frequent transits and communications of musicians on both sides of the Atlantic. These transits clarifies the frequent presence in the metropolis of musicians transited from the captaincy of Pernambuco tied to a strong clientele composed of local wealthy merchants and merchants, but also tied to the high nobility and high clergy in Lisbon. In the space of Recife and Olinda we propose to understand how the musicians were articulated around the shares, practices and professional exercise of the music in the highly hierarchized society of the Ancien Régime. Thus, we perceive the existence of a "hierarchy of the music craft", resulting not only from the accumulation of practical and speculative knowledge, but also from the clientelistic networks constituted by these musicians. These patronage networks, including the transits of the musicians to the metropolis, were also responsible for a subjective control of the music trade in most of the seven hundred, in mediating the performance of the musicians under their protections. However, in the second half of the eighteenth century, there was an increase in the number of musicians and a reduction of services to these patronage networks, resulting from the economic policies of the Pombaline reforms, which resulted in the need to organize and control the music craft in the village of Recife, events that resulted in the formation of the Brotherhood of Santa Cecilia of Recife. Thus, in constructing the sketches of the five trajectories with their networks of relationships, taking into account the sociocultural context of these musicians, we were able to extract and deepen subjective questions of possible musical and social normative practices, making possible to contribute and advance in Brazilian musicological studies, towards a greater understanding of musicians and eighteenth-century musical practices in Portuguese America.