No description available.

The purpose was to investigate attitudes of successful full-time performing classical singer-actors toward career concerns of the music profession. Five research problems were formulated to: (1) describe attitudes toward control of work conditions; (2) describe attitudes toward entrapment; (3) describe attitudes toward dependency; (4) report attitudes concerning current practices of training the solo singer; and (5) identify commonalities among the subjects regarding demographic, the attitudes described in problems one through four, and demeanor during the interviews.

No description available.

<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>

The years 1815 to 1867 marked the first protracted period of peace in Nova Scotia’s colonial history. While the immediate effects of peace were nearly disastrous, these years ultimately marked a formative period for the province. By the eve of Confederation, various social, cultural, political, economic, and technological developments had enabled Nova Scotia to become a mature province with a distinct identity. One of the manifestations of this era of community formation was the emergence of a cosmopolitan-oriented music culture. Although Atlantic trade routes ensured that Nova Scotia was never isolated, the colonial progress of the pre-Confederation era reinforced and entrenched Nova Scotia’s membership within the Atlantic World. The same trade routes that brought imported goods to the province also introduced Nova Scotians to British and American culture. Immigration, importation, and developments to transportation and communication systems strengthened Nova Scotia’s connections to its cultural arbiters – and made possible the importation and naturalization of metropolitan music practices. This dissertation examines the processes of cultural exchange operating between Nova Scotia and the rest of the Atlantic World, and the resultant musical life to which they gave rise. The topic of music-making in nineteenth-century Nova Scotia has seldom been addressed, so one of the immediate aims of my research is to document an important but little-known aspect of the province’s cultural history. In doing so, I situate Nova Scotia’s musical life within a transatlantic context and provide a lens through which to view Nova Scotia’s connectivity to a vast network of culture and ideas. After establishing and contextualizing the musical practices introduced to Nova Scotia by a diverse group of musicians and entrepreneurs, I explore how this imported music culture was both a response to and an agent of the formative developments of the pre-Confederation era. I argue that, as Nova Scotia joined the Victorian march of progress, its musicians, music institutions, and music-making were among the many socio-cultural forces that helped to transform a colonial backwater into the civilized province that on 1 July 1867 joined the new nation of Canada.

The years 1815 to 1867 marked the first protracted period of peace in Nova Scotia’s colonial history. While the immediate effects of peace were nearly disastrous, these years ultimately marked a formative period for the province. By the eve of Confederation, various social, cultural, political, economic, and technological developments had enabled Nova Scotia to become a mature province with a distinct identity. One of the manifestations of this era of community formation was the emergence of a cosmopolitan-oriented music culture. Although Atlantic trade routes ensured that Nova Scotia was never isolated, the colonial progress of the pre-Confederation era reinforced and entrenched Nova Scotia’s membership within the Atlantic World. The same trade routes that brought imported goods to the province also introduced Nova Scotians to British and American culture. Immigration, importation, and developments to transportation and communication systems strengthened Nova Scotia’s connections to its cultural arbiters – and made possible the importation and naturalization of metropolitan music practices. This dissertation examines the processes of cultural exchange operating between Nova Scotia and the rest of the Atlantic World, and the resultant musical life to which they gave rise. The topic of music-making in nineteenth-century Nova Scotia has seldom been addressed, so one of the immediate aims of my research is to document an important but little-known aspect of the province’s cultural history. In doing so, I situate Nova Scotia’s musical life within a transatlantic context and provide a lens through which to view Nova Scotia’s connectivity to a vast network of culture and ideas. After establishing and contextualizing the musical practices introduced to Nova Scotia by a diverse group of musicians and entrepreneurs, I explore how this imported music culture was both a response to and an agent of the formative developments of the pre-Confederation era. I argue that, as Nova Scotia joined the Victorian march of progress, its musicians, music institutions, and music-making were among the many socio-cultural forces that helped to transform a colonial backwater into the civilized province that on 1 July 1867 joined the new nation of Canada.