The study employed 206 entry-level, retail sales associates working for a large telecommunications company across 70 store sites. The purpose of the study was to discriminate successful performers from those with little sales potential via a valid, fair, and practical selection procedure. The experimental test set consisted of the General Ability Battery, Sales Attitude Checklist, Wonderlic Personnel Test, SRA Verbal Form, School and College Ability Test Verbal, SPA Arithmetic Index, and SRA Reading Index. Supervisory ratings and percent revenue data were used as measures of sales performance. Based on the multiple regression results, the SPA Reading Index and SRA Verbal Form were chosen to compose the final selection system for the retail sales position.

Optimal performance requires a relaxed concentration which is incompatible with experiencing certain emotions (Juslin, 2009). This research aimed to explore the extent to which performers emotionally engage with music during a solo recital, from the performer’s perspective. The research project was a qualitative study, using interpretative phenomenological analysis (IPA). The research participants consisted of eight concert pianists (four students and four professionals), each of whom performed solo recitals lasting 60 -70 minutes. The pianists were interviewed by means of semi-structured, in-depth interviews immediately after their performances. The interview data was collated from the semi-final round of the 2011 National University of South Africa (UNISA) piano competition (student pianists), and professional performances in South African concert halls in 2011/2012 (professional pianists). The results suggested that the performers experienced two categories of emotions during performance: musical emotions which relate to the emotional content of the music, and performance-related emotions which relate to the performance circumstances. Musical emotions appeared significantly more complex and nuanced than emotions experienced in an everyday context. Performers preferred to represent musical emotions perceived to be in the score rather than experience them directly (induced) during performance. The performers maintained strict emotional control during performance, as excessive musical and performance-related emotions impacted negatively on a performance. An intense dialogue evolved between performer and composer when preparing for a performance. This manifested in performance as a stage persona, and was experienced by performers as a cognitive-emotive duality. During optimal performance, the performers appeared to transcend reality and enter a “zone”, or state of altered consciousness. The heightened elation experienced by the performers when in the zone was synonymous with a state of Flow (Csíkszentmihályi, 1990). Several factors facilitated or inhibited musical Flow, but did not guarantee its occurrence. In conclusion, the research suggests that the performers’ engagement with musical emotions (perceived and induced) during performance is incidental and does not play a significant role either in the successful representation of musical emotions, or the performer’s experience during performance. The euphoric “high” which performers experience during optimal performance does not relate to musical emotions, but reflects rather the altered state of consciousness experienced during Flow. / Thesis (DMus)--University of Pretoria, 2014. / lk2014 / Music / DMus / Unrestricted

„Lives of Performers“ wird im Vorspann dem Genre des Melodramas zugeordnet. Dass man jedoch keinen Film mit einer Narration im konventionellen Sinn, eine Verkörperung dramatischer Gefühle durch Charaktere, eine auf Identifikation durch das Publikum zielende Darstellung der Schauspieler erwarten kann, deutet sich schon im Prolog an. Es geht nicht um Verkörperung, sondern um Repräsentation von Gefühlszuständen und Beziehungskonstellationen, die mit den Mitteln der Performance einer Art von Versuchsanordnung unterzogen werden. Eine tragende Rolle spielt dabei die Fotografie und das Fotografische. So arbeitet der Film in großem Ausmaß mit Inszenierungsformen wie der Pose, dem Mise en abyme und dem Tableau vivant.

En se fondant sur une clinique du travail de comédiens recueillie selon les principes théoriques et pratiques de la psychodynamique du travail, cette thèse propose une analyse critique des approches psychanalytiques de l'activité artistique et théâtrale. Les données empiriques procèdent de deux enquêtes de psychodynamique du travail et d'entretiens de recherche. Au-delà elle poursuit la réflexion engagée par la psychodynamique du travail sur la place accordée au travail dans la pratique psychanalytique et la métapsychologie. Dans un premier temps, seront examinés les éléments contextuels permettant de situer le travail et le métier de comédien. En premier lieu l'histoire du métier et des pratiques du théâtre seront retracées du point de vue des organisations du travail, des transformations qu'elles induisent sur la nature de l'activité et sur la «condition» de «comédien» pour montrer comment elles ont varié dans le temps et quel impact elles ont eu sur la structuration du travail contemporain de comédien. Seront ensuite présentées des théories du jeu de l'acteur élaborées par quelques grandes figures du théâtre qui parlent du travail mais sans que ce dernier soit conceptualisé en tant que tel. Le cadre dans lequel s'exerce le métier de comédien aujourd'hui sera ensuite envisagé à partir des travaux sociologiques consacrés aux comédiens et aux métiers du spectacle d'une part, au régime d'assurance-chômage des intermittents du spectacle d'autre part, afin de repérer dans quelle mesure le cadre et l'intermittence ont des incidences sur le travail stricto sensu de comédien aujourd'hui. Ce parcours historique mais aussi sociologique autour du métier et du travail de comédien mènera à la lisière du «travail vivant», c'est-à-dire aux dimensions du travail qui sont spécifiquement mises en exergue par la psychodynamique du travail. Avant d'entrer dans le vif de celui-ci, il sera nécessaire d'effectuer un détour méthodologique explicitant les principes théoriques et cliniques de la psychodynamique du travail mis en œuvre pour saisir l'objet de la thèse. La suite sera consacrée à une investigation psychodynamique du travail de comédien, tel qu'il apparaît à travers des enquêtes de psychodynamique du travail et des entretiens de recherche. Cette clinique constituera la base à partir de laquelle seront discutées, les approches psychanalytiques du travail de comédien et, plus largement, du travail artistique, dans la mesure où c'est dans ce dernier que la plupart des approches psychanalytiques l'inscrivent. Dans une dernière étape la discussion portera, à partir du travail de comédien, sur l'analyse comparée de la place respectivement accordée au travail en psychodynamique du travail et en psychanalyse. Les enjeux de cette recherche se déploient dans différents champs : - Pour la psychodynamique du travail, elle représente un terrain jusqu'à présent inexploré, source de connaissances nouvelles mais aussi épreuve inédite pour les principes cliniques et théoriques de la discipline. - Du côté de la psychanalyse, mettre les approches du travail de comédien et, plus généralement du travail artistique, à l'épreuve d'une clinique fondée sur une théorie du travail a des enjeux théoriques mais aussi cliniques importants dans la mesure il s'agit de discuter le sens du travail pour la subjectivité et, par conséquent, sa prise en compte dans l'écoute psychanalytique et dans la cure, avec les patients pratiquant une activité artistique et au-delà avec les autres patients. - Pour les théories du théâtre et les théories de l'art, il n'est pas impossible que cette approche d'un art et d'une production artistique à partir d'une analyse du travail vivant constitue un premier jalon en faveur de la prise en compte du travail dans l'évolution de ces théories. Ce serait de surcroît un champ nouveau pour mettre à l'épreuve la thèse de "la centralité épistémologique du travail". / Drawing on a clinical approach to actor's work based on the clinical and theoretical principles of work psychodynamics, and on two surveys and individual research interviews, this thesis sets out to test and to discuss psychoanalytic approaches to work and artistic activity, and to further the reflection on work in psychoanalysis initiated by the field of work psychodynamics. As a first step, we will examine elements contextualizing the actor's work and profession. We will first look at the profession's history and practices, including the degree to which labor organizations, the actor's "condition," and the nature of the trade varied over time, fostering a professional culture, and influencing the contemporary theater and the actor's craft. We will then look at a few theories of acting before focusing on the framework in which performers work today, drawing on sociological studies of actors and performers, and of the French unemployment insurance scheme for intermittent performers, which structures employment and work as an actor in France today. This chapter will be a historical but also trans-disciplinary journey through the craft and work of the actor, which will take us to the edge of "living labor". To get to the heart of the matter, we will need to take a methodological detour through the theoretical and clinical principles of the psychodynamics of work used to grasp our subject. The third step will be devoted to a psychodynamic analysis of actor's work, as it appears through surveys and research interviews. This clinical approach will provide support to discuss, in a fourth phase, psychoanalytical approaches to actor's work and to artistic work more generally. Using the case of actors' work, this chapter continues the discussion between work psychodynamics and psychoanalysis around work-related issues. The issues raised by this research have repercussions for several different fields: - It represents an as-of-yet unexplored field of work dynamics, a source of new knowledge and a new challenge for the clinical and theoretical principles of the discipline. - From a psychoanalytic perspective, putting actors' work and artistic work more generally under clinical scrutiny based on a theory of work raises important theoretical and clinical issues, in so far as we discuss the meaning of work for subjectivity and, consequently, the awareness of it in the analytic context, whether the patient practices an artistic activity or not. - For theatre and art studies, it is not impossible that this work-based approach to an artistic discipline and form of production constitutes a first milestone in the consideration of work in these theories, and a new development in the epistemological centrality of work.

The increasing evidence of the organizational demands encountered by sports performers provides a fertile ground for research. There is now a requirement to move beyond describing the organizational stressors that performers encounter in order to understand the complex appraisal and coping processes that athletes engage in when experiencing organizational stress. This thesis aimed to conduct a detailed examination of these processes in high-level sport performers. Chapter 2 describes a narrative review of the extant appraisal literature that has examined the roles of situational and personal influences on appraising. In order to generate a detailed understanding of this literature, the review includes findings from the general, occupational, organizational, and sport psychology literatures. This review was instrumental in determining the direction of the research described in later chapters. Chapter 3 aimed to narrow the focus of the thesis to organizational stress transactions in sport performers and therefore, describes a diary study that explored swimmers appraisals of organizational stressors. The findings of this study provided insight into the complex process of appraisal and suggested that appraisals are related to the situational property of the stressor encountered. In addition, the results pointed to the importance of exploring the coping strategies that athletes use to manage organizational stressors in future research. Chapter 4 describes a narrative review of the literature that has examined athletes ways of coping with organizational stressors. Due to the limited sport psychology research in this area and in order to extend current knowledge in sport, prominent findings from the organizational and occupational psychology domains were considered. Chapter 5 was designed to extend the findings of Chapter 3 and the existing literature by examining the coping strategies that swimmers use in response to organizational stressors. This chapter highlighted the complexity of coping and suggested that appraisal mechanisms are linked to the coping family employed. Chapter 6 aimed to take a more complete approach to examining organizational stress transactions by exploring various components of stress transactions. The study presented in this chapter suggested that the appraisal an athlete makes is influential in determining the performance outcome that they will experience. Collectively, the chapters described above highlighted appraising as the pivotal element in stress transactions and established a rationale for the cognitive-behavioral based intervention that is described in Chapter 7. The study presented in Chapter 7 aimed to alleviate some of the negative outcomes of organizational stress by optimizing sport performers appraisals. The findings suggested that cognitive restructuring was a useful technique for achieving this aim. The program of research presented in this thesis suggests that appraising is the pivotal element of organizational stress transactions in sport and that appraising can be optimized in order to alleviate the negative emotional and performance outcomes of maladaptive appraisals. In addition, the research highlights the importance of considering the situational properties of stressors, the complexity of coping, and the relationships between components of stress transactions in future research. Further, the findings presented within this thesis suggest that future research should aim to make methodological and measurement advances and examine, in detail, performers appraisal and coping processes.

When directors in professional Theatre for Young Audiences (TYA) practice inclusive casting, or, in other words, cast an actor with a disability in a role that is not written with a disability, several provocative questions emerge: What are the social implications of inclusive casting? How might stories on stage change due to inclusive casting? What does inclusive casting mean for professional TYA companies and directors? How might performers with disabilities examine their personal and professional relationship to disability when participating in inclusive casting? How might a young audience’s perspective change when inclusive casting is implemented? This thesis examines these questions through interviews with directors, performers, and young audience members. / text

La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l'Université de Montréal (www.bib.umontreal.ca) / Les musiciens étrangers installés au Québec ont contribué à l’édification et au développement de la vie culturelle, et leur influence sur le milieu musical est loin d’être négligeable. Mais que connaît-on des conditions d’intégration socioculturelle et professionnelle de ces musiciens immigrants ? Quels obstacles rencontrent-ils, quelles stratégies développent-ils pour poursuivre leur carrière professionnelle dans un nouveau contexte social et artistique ? Cette recherche aborde un des aspects de la vie musicale québécoise à travers la problématique de l’intégration socioculturelle et professionnelle d’interprètes immigrants de musique savante occidentale (ou musique classique). S’appuyant sur le parcours de musiciens installés à Montréal depuis trente-cinq ans et moins, l’étude s’articule autour de quatre axes : l’impact de l’immigration sur les interprètes étrangers; leur processus d’intégration; l’influence du contexte socioculturel et musical sur les stratégies d’adaptation développées par ces musiciens; leurs apports au milieu musical québécois. Basée sur une approche sociomusicologique à partir d’une méthodologie mixte – étude théorique et enquête de terrain –, cette recherche se présente comme une enquête exploratoire visant à dresser un tableau général des situations rencontrées par les interprètes immigrants dans leur trajectoire d’intégration. Un cadre théorique a tout d’abord été bâti afin d’exposer, d’une part, les particularités du métier d’interprète (apprentissage et professionnalisation) et, d’autre part, les diverses étapes de l’immigration et de l’intégration et leurs spécificités. Ensuite, en replaçant dans ce cadre théorique les données recueillies sur le terrain, l’étude plus approfondie de cinq cas particuliers a permis d’appréhender la problématique à travers l’expérience des interprètes immigrants, et d’observer les stratégies qu’ils ont développées en réponse aux situations rencontrées; un de leurs plus grands défis étant de trouver un équilibre entre leurs codes culturels et musicaux et ceux de la société d’accueil. L’étude de cas s’appuie sur la mise en parallèle du cheminement d’interprètes installés à Montréal depuis trente-cinq ans et moins, l’objectif étant de mesurer les incidences des changements survenus dans le milieu musical sur le processus d’intégration socioprofessionnelle de ces musiciens. L’analyse des données recueillies révèle que ce n’est pas grâce à leur formation en musique classique que les interprètes immigrants réussissent à intégrer rapidement le milieu professionnel actuel, mais grâce à leur pratique parallèle de la musique traditionnelle de leur pays d’origine. Cette nouvelle dynamique d’adaptation, favorisée par les politiques de valorisation de la diversité culturelle, entraîne un glissement progressif de l’intérêt des organismes de soutien au développement artistique vers les musiques traditionnelles ou métissées. S’oriente-t-on vers un changement de paradigme conduisant à la perte graduelle de la prédominance du répertoire classique chez les interprètes immigrants, au profit du répertoire traditionnel ? / Foreign musicians living in Quebec contributed to build and develop cultural landscape, and their influence on the musical world is far from negligible. However, what do we know about sociocultural and professional conditions of integration for these immigrant musicians? What challenges do they encounter? What strategies do they develop to move on with their professional career in a new artistic and social context? This research addresses one of the aspects of Quebec’s musical life through the problematic of the sociocultural and professional integration of immigrant performers of (learned) Western art music (or classical music). Based on the career of musicians living in Montreal since thirty five years or less, this study revolves around four axes: the impact of immigration on immigrant performers; their integration process; the influence of the sociocultural and musical context on the adaptation strategies these musicians developed and their contribution to Quebec’s musical world. Based on a sociomusicologic approach from a mixed methodology – theoretical study and field survey - this research is presented as an exploratory survey aiming to draw a general picture of the situations encountered by the immigrant performers in their integration. A theoretical framework was first prepared in order to expose, on one hand, the peculiarities of the work of performer (learning and professionalization) and, on the other hand, the different steps of immigration and integration, as well as their specificities. Then, by placing in this theoretical framework the data collected on the field, a more in-depth study of five particular cases allowed to apprehend the problematic through the experience of immigrant performers and to observe the strategies they developed to pass by the situations they had to face; one of their greatest challenge being to find the balance between their musical and cultural codes and those of the host country. The study of cases is driven by the parallel exposure of the experience of performers living in Montreal since thirty five years or less, the objective being to measure the incidence of the changes that happened in the musical milieu onto their socioprofessional integration process. Data analysis revealed that fast professional integration of immigrant performers is rather due to the parallel practice of traditional music from their home country than to their formation in classical music. This new dynamic of adaptation, favored by policies of valorization of cultural diversity, causes a progressive shift of organisms’ interests towards traditional or mixed musical genres. Are we going forward to a change of paradigm, leading to the gradual loss of the predominance of the classical repertoire within immigrant performers, for the benefit of the traditional repertoire?

A pesquisa propõe pensar a arte que se faz nas ruas em seus modos de criação e autoanálise, estabelecendo um diálogo com os diferentes artistas que ocupam a Rua da Praia, localizada na cidade de Porto Alegre (RS), a partir de alguns conhecimentos sobre arte na atualidade. Por meio dos depoimentos, em entrevistas, de estátua viva, bandas independentes, músicos solos, pintor de retratos e poetas errantes, busca-se compreender como o artista percebe a rua em relação ao que chamareide Galeria Urbana e quais são os motivos que cercam a escolha da rua como palco ou galeria. Para tanto, como metodologia e princípio de desenvolvimento para a pesquisa teórica, elabora-se uma cartografia, assumindo, assim, uma pesquisa em movimento, em que o caminhar do pesquisador articula conhecimentos. A fim compreender cartografia e sua investigação para a análise de dados, utilizou-se autores como Félix Guattari, Gilles Deleuze, Suely Rolnik e Virgínia Kastrup. Ademais, o entendimento de rua e da arte que dela se apropria dáse no diálogo com Raquel Rolnik, Vera Pallamin, Paola Jacques e com os artistas Márcio Petracco (Bluegrass Porto-alegrense), Welci Araújo, Abraham Ponce, Pablo Seearasta (Som Central) e com os músicos Marcelo da Luz, Pedro Ourique, Jean Kartabil, Lester Borges, da banda Cartas na Rua. Ao fim do percurso, além de perceber as questões que envolvem a escolha da rua como palco, bem como as paisagens que se criam por meio das falas dos artistas, discute-se as relações socioculturais que se atravessam nesse âmbito por intermédio da apropriação de espaços urbanos para as artes. / The research proposes to think about the art that is done in the streets in their modes of creation and self - analysis, establishing a dialogue between different artists that occupy Rua da Praia, in the city of Porto Alegre - RS, with some knowledge about art today. Through interviews with live statues, independent bands and solo musicians, portrait painters and wandering poets, one seeks to understand how the artist perceives the street in relation to what I will call an Urban Gallery and the motives surrounding the choice of Street as stage our gallery. As a methodology and development principle for theoretical research, a cartography is created, assuming a research in movement, in which the researcher's path articulates knowledge. For the understanding of cartography and its investigation for data analysis, authors such as Félix Guattari, Gilles Deleuze, Suely Rolnik and Virginia Kastrup are used. As well as for the understanding of the street and the art that appropriates it, dialogue with Raquel Rolnik, Vera Pallamin, Paola Jacques, and artists: MárcioPetracco (Bluegrass Porto-alegrense), WelciAraújo, Abraham Ponce, Pablo Seearasta (Som Central) and musics Marcelo da Luz, Pedro Ourique, Jean Kartabil, Lester Borges this band Cartas naRua.At the end of the course, in addition to perceiving the issues surrounding the choice of the street as a stage, and the landscapes that are created, through the artists' speeches, we discuss the sociocultural relations that are crossed through the appropriation of urban spaces for the Art.

La pratique des interprètes de Berlioz qui créèrent Benvenuto Cellini, La Damnation de Faust et Béatrice et Bénédict gagne à être mieux connue : ils observaient d’autres traditions que les nôtres, et saisir leurs usages et leur contexte artistique offre un autre regard sur les œuvres. La présente thèse examine le cadre de travail de ces artistes, c’est-à-dire leurs formations, leurs carrières, le déroulement des répétitions d’une œuvre et les corps de métier convoqués, mais aussi les écoles de jeu, de chant, et les étapes de préparation d’un rôle. Ces artistes seront aussi présentés, en particulier ceux qui jouèrent dans les scènes comiques des œuvres concernées. Les derniers chapitres, qui explorent la manière dont les œuvres du corpus furent interprétées sur les scènes de l’Opéra et du théâtre de Bade, ainsi qu’à l’Opéra-Comique et au théâtre de Weimar, mêlent l’ensemble de ces sources et croisent aspect scéniques et musicaux. / The practices of the performers who first produced Berlioz’s Benvenuto Cellini, La Damnation de Faust and Béatrice et Bénédict deserves to be better known: they followed other traditions than ours, and to understand their habits, practices and artistic context offers another way of conceiving these musical works. The present thesis considers the framework in which these artists worked, that is to say their training, their careers, the progress of the rehearsal of an opera and the trades involved, as well as the schools of acting, of singing, and the preparation of a role. The individual artists will also be introduced, in particular those who played in the comic scenes of the concerned works. The last chapters, which explore the way in which the corpus’ works were performed on the stage of the Paris Opera and the theater of Bade, as well as at the Paris Opera-Comic and the theater of Weimar, mix all these sources and documents and combine musical and scenic elements.

<p>Danas je gotovo nepoznat podatak da na katedrama za gudačke instrumente na akademijama umetnosti u regionu od ukupnog broja diplomiranih kadrova većinu čine žene. Otuda je vredna istraživačke pažnje analiza procesa obrazovanja i profesionalnog delovanja u njihovim sredinama tog značajnog broja muzički visoko obrazovanih žena. Upoređivanjem podataka iz tri akademske sredine jugoslovenskog prostora dolazimo do značajnih zaključaka za istoriju ženskog muzičkog nasleđa u regionu na ovom prostoru i za metodiku rada sa budućim kadrovima.<br />Cilj istraživanja je prikupljanje, selekcija i interpretacija podataka o životu diplomiranih izvođačica na gudačkim instrumentima u Novom Sadu, Banjaluci i Zagrebu od osnivanja akademskih institucija do danas, kako bi se skrenula pažnja na pitanje konstruisanja identiteta izvođačica tokom i nakon visokog muzičkog obrazovanja.<br />Hipoteza 1 je da značajan broj diplomiranih izvođačica na gudačkim instrumentima doprinosi promeni svesti o važnosti rodnog identiteta u muzičkoj umetnosti u regionu.<br />Hipoteza 2 je da povećan broj diplomiranih izvođačica na gudačkim instrumentima ne doprinosi promeni svesti o važnosti rodnog identiteta u muzičkoj umetnosti u regionu.<br />Hipoteza 3 je da je profesionalni identitet diplomiranih izvođačica na gudačkim instrumentima nadređen svim drugim komponentama identiteta, uključujući i rodni.<br />Korpus obuhvata diplomirane muzičarke gudačkih instrumenata sa Akademije umetnosti u Novom Sadu (20), u Zagrebu (4)i u Banjaluci (8).<br />Analiza 13 komponenata identiteta (detinjstvo, &scaron;kolovanje, devedesete godine 20. veka, brak, deca, maternji jezik, zatim nacionalni, verski, profesionalni identiteti, zdravlje, članstvo u strukovnim udruženjima i političkim strankama, hobi).<br />Rezultati pokazuju da je prva hipoteza samo delimično tačna, te da je treća hipoteza tačna za ukupan uzorak: sve muzičarke prednost daju profesionalnom identitetu od ranog detinjstva. Empirijski podaci ne potvrđuju stereotip da profesija muzičarke i braka, porodice i dece ne idu zajedno.<br />Rezultati istraživanja su važni koliko za novo sačinjavanje istorije muzike i žena u toj oblasti toliko i za rodne studije, koje se staraju za afirmaciju žena u različitim profesijama u dana&scaron;njem vremenu. Posebno rezultati treba da obogate nastavnu i metodičku praksu u domenu muzike na svim nivoima obrazovanja kod nas. Podaci iz ovog rada bi mogli (zapravo, morali) da postanu deo udžbeničke literature. Na ovo se nadovezuju i podaci do kojih je do&scaron;lo ovo istraživanje, a koji svedoče o tome da je u svetu i u regionu jugoslovenskog prostora značajan broj žena doprinosio i jo&scaron; uvek, možda i vi&scaron;e nego ikada ranije, doprinosi razvoju muzike i muzičke kulture.</p> / <p>Today is almost unknown the fact that on the string department at the academies of arts in our region most of the graduated students are women. The analysis of this process is worth the research attention of education and professional activities of this, relatively significant number of graduated women string instrumentalists. By comparing data from three cultural backgrounds of ex-Yugoslav territory we come to significant conclusions for the history of women&#39;s musical heritage in the region in this area and the methodology of work with future personnel.<br />The aim of the research is the collection, selection and interpretation of data about the life of graduated women performers on stringed instruments in Novi Sad, Banja Luka and Zagreb since the establishment of these academic institutions to present day, in order to draw attention to the issue of constructing identity of women performers during and after the higher music education.<br />Hypothesis 1 is that a significant number of female music performance graduates on string instruments contributes to improving the awareness of the importance of gender identity in the music art in the region.<br />Hypothesis 2 is that the increased number of female music performance graduates on string instruments does not contribute to improving the awareness of the importance of gender identity in the music art in the region.<br />Hypothesis 3 that professional identity of the female music performance graduates on string instruments is superior to all other components of identity, including gender.<br />The corpus includes female music performance graduates on string instruments from the Academy of Arts in Novi Sad (20), Zagreb (4) and Banja Luka (8).<br />Analysis of the 13 components of identity (childhood, education, nineties of the 20th century, marriage, children, mother tongue, then national, religious, professional identities, health, membership in professional associations and political parties, hobbies).<br />The results show that the first hypothesis is only partly true, and that the third hypothesis is true for the total sample: all the female musicians prefer the professional identity from early childhood. Empirical data do not confirm the stereotype that the profession of a female musician exclude marriage, family and children.<br />The research results are as important as the new drafting history of music and women in this area so much and for gender studies, which are undertaken for the advancement of women in various professions in modern times. In particular, the results would enrich teaching and methodical practice in the field of music education at all levels in our country. Data from this study could (indeed, must) become a part of textbooks. In addition the data that occurred in this research testify to the fact that in the world and in the region Yugoslav territory a significant number of women contributed, and still, perhaps more than ever, contributes to the development of music and musical culture.</p>