<p> This dissertation explores the initial formation process of bands of General Business (GB) musicians. GB musicians are professional instrumentalists and vocalists with a substantial repertoire of popular songs spanning various time periods, genres and styles, whose primary work includes weddings, banquets, corporate events, and other forms of function work. This exploratory, qualitative study observed and recorded the rehearsals or showcase of four GB bands within the first four months of existence, and the 25 band members were interviewed. Data was analyzed using thematic analysis. Analysis of the observational data revealed three emergent themes, and analysis of the interview data revealed six emergent themes. All emergent themes relate to being a GB musician, leadership, norms, comfort, interdependence, expectations, and anxiety. Further analysis revealed four key findings. The first key finding indicates that during initial formation, GB band members enjoy their work, are invested in the success of their GB band, and become more comfortable in sharing their ideas with members of their GB band the more they play together. The second key finding showed that during initial GB band formation, members expect to be paid well, but members discuss not being paid well during initial GB band formation since the focus is on members being able to work effectively together. Third, participants perceive the formal GB band leadership as the initiators of directing behaviors and defining norms during initial formation. The fourth and final key finding suggests that members perceive two different types of norms within their GB band during initial formation, which include band-specific ways of working together, as well as rules of GB band etiquette that apply to being a part of a GB band in general.</p><p>

<p>Onlinemedier och mobilteknik har idag större innebörd för de flesta branscher. En av de branscher där det har varit mycket påtagligt är musikbranschen. Ett exempel på detta är de digitala filernas intåg i musikbranschen som har skakat om skivindustrin, och skivbolagen visar numera resultat därefter. Den delen av branschen som det däremot går riktigt bra för i dagsläget är livemusikproducenterna, d.v.s. bokningsbolag, festivalarrangörer och andra scener med livemusik som huvudfokus. Nu befinner sig alltså livemusikproducenterna på topp, men som skivbolagen bland annat har fått erfara kan framtiden komma med överraskningar. Skivbolagen valde att reagera alldeles för sent när problemen uppstod och dessutom på fel sätt, och såhär i efterhand kan man konstatera att de snarare borde ha agerat i förebyggande syfte. Med det exemplet i bakhuvudet kommer vi i denna uppsats undersök hur väl livemusikproducenterna förbereder sig inför möjliga framtidsscenarion, med fokus på nya digitala medier.</p>

Onlinemedier och mobilteknik har idag större innebörd för de flesta branscher. En av de branscher där det har varit mycket påtagligt är musikbranschen. Ett exempel på detta är de digitala filernas intåg i musikbranschen som har skakat om skivindustrin, och skivbolagen visar numera resultat därefter. Den delen av branschen som det däremot går riktigt bra för i dagsläget är livemusikproducenterna, d.v.s. bokningsbolag, festivalarrangörer och andra scener med livemusik som huvudfokus. Nu befinner sig alltså livemusikproducenterna på topp, men som skivbolagen bland annat har fått erfara kan framtiden komma med överraskningar. Skivbolagen valde att reagera alldeles för sent när problemen uppstod och dessutom på fel sätt, och såhär i efterhand kan man konstatera att de snarare borde ha agerat i förebyggande syfte. Med det exemplet i bakhuvudet kommer vi i denna uppsats undersök hur väl livemusikproducenterna förbereder sig inför möjliga framtidsscenarion, med fokus på nya digitala medier.

The purpose of this study was to identify potential threshold concepts in the music industry as perceived by expert music industry professionals; the data collected may possibly inform postsecondary music industry degree program curriculum design. Threshold concept theory emerged in the early 2000s largely due to the research of Meyer & Land (2003, 2005) as a means to illuminate discipline-specific criteria that irreversibly transform a learner’s positionality within a professional discipline. Through the mastery of a threshold concept, a learner becomes aware of discipline specific norms, and may experience a reconstitution of their own identity as a professional. This is the first study to explore threshold concepts within the music industry. This study is also aimed to contribute to a growing body of research at the intersection of threshold concepts and business education. Utilizing qualitative research informed by phenomenology, semi-structured interviews based on the primary tenets of the threshold concept theory framework were conducted. “Expert” music industry professionals were asked to reflect upon their lived experiences regarding their assimilation into the music industry and maintenance of a sustainable career in the discipline. The data collected were aligned with the threshold concept theory framework in order to illuminate potential threshold concepts specific to the music industry. Results indicate that there exist possible dispositional and disciplinary threshold concepts relative to becoming a music industry professional. The identification, prioritization, and utilization of threshold concepts are applicable to curriculum planning at both the macro- (program creation, execution, and evaluation) and micro- (course creation, planning, instruction, and evaluation) levels for post-secondary music industry education.

In this thesis I ́m trying to to find out whether we need to make our art into a product and I am using myself and my career as an example of a product. I wanted to use the word “product” in a positive way and inspire people to think about music management and personal branding as something they could use as a tool when working with something creative. I ́m writing about my own journey as a folk musician and solo artist and wish to turn something personal into something common and shared. ! I approached my research question “How much of a product would you have to be in order to be a successful artist at the Nordic folk music scene?” from three angels. Firstly, I ́ve gathered information that I have from my years as a freelance musician. Secondly, I interviewed a few professionals, and finally I read a lot of material and wrote about the basics of music business and working life of a folk musician in the Nordic countries. My theory is that we ́re all selling a product when selling our music and playing for money, that is why we need to know this product, love and respect it and have a need to share it. I believe that finding your artistic me is a spiritual journey and when you start searching for your “core” you ́ll become a better musician since you ́re getting better in recognising and handling your own emotions. I ́m trying to diminish the polarisation between music business and being a genuine artist. I believe that knowing your core gives you power to work better in the field which is continually changing and demands a lot. This spiritual journey into yourself is also an artistic journey and I see personal branding as a fun and inspirational tool for anyone who wants to get to know oneself and build a personal brand which is true, likeable and also selling. / <p>Master konsert: ILMOI; medverkande Anna Fält, Joonas Ojajärvi, Jenni Venäläinen</p>

This document chronicles the history, development, process, and impact of three of the United States' first and most successful professional choirs. Representing the impact of these three choirs demonstrates a need for current professional or community choirs today. Four conductors of current professional and community choirs were interviewed and discussed elements for establishing, maintaining and succeeding in creating of a professional or community choir in the United States today. This document impresses the importance and considerations for a successful endeavor when establishing a professional or community choir.