Musicians

This article explores the types of work undertaken by jazz musicians in London, categorizing their activities using two axes derived from debates over ‘creative labour’. Firstly, the extent to which different jobs offer scope for creative autonomy and, secondly, the extent to which they involve collective as opposed to individualized working relationships. It focuses on the process of
becoming established on the London ‘scene’, presenting qualitative interview data primarily with young workers seeking to build their careers. Musicians may make conscious decisions to pursue types of work which enable greater creative autonomy, but in doing so they may exacerbate fatalism about poor working conditions and undermine professional solidarity. The article also
explores how pressures towards ‘entrepreneurialism’ in other forms of music work constitute further barriers to collective contestation of working conditions. Finally, it points towards types
of music work where notions of professional economic interest have more traction.

Conferencia dirigida a compartir algunos resultados del proyecto doctoral "Caracterización del síndrome de sobreentrenamiento en estudiantes de música de nivel licenciatura" . Coloca al síndrome de sobreentrenamiento como una forma de estrés crónico y riesgo ocupacional de los músicos.
Conferencia llevada a cabo en el marco del /º Coloquio nacional y 4º Internacional en Educación Musical a Nivel Superior , organizado por la Universidad Autónoma de Aguascalientes, 2020, en la ciudad de AGuascalientes, en línea.

Maharsyalfath Izlubaid Qutub Maulasufa (Alfath Flemmo) adalah Binusian 2026 Jurusan Ilmu Komunikasi (MassCom) di Binus University @Malang. ALFATH memiliki pengalaman lebih dari 4 tahun dalam Produksi Musik menggunakan Digital Audio Workstation FL Studio dengan memanfaatkan Teknologi Artificial Intelligence (AI) dan Pemrograman Komputer untuk mengembangkan platform musik digital sebagai Media Komunikasi preview produk untuk bisnis ecommerce masa depan.

Keahlian Pemrograman Komputer: Python Kotlin Javascript HTML CSS Pawn C++ Flutter Server Developer Web Developer Bot Developer.

Keahlian Musik: Komposisi Musik, Aransemen Lagu, Produksi Musik, Percampuran (Mixing), Pascaproduksi (Mastering), Penulis Lagu, Desain Suara, Alat Musik (Piano, Gitar, Drum).

Jurnalistik: Reporter.

El músico, profesional o estudiante, está expuesto a sufrir durante su carrera cierto tipo de lesiones asociadas a las características de su profesión. Las más frecuentes son las que afectan al sistema músculo-esquelético y causan pérdida de funcionalidad o incapacidad. Para abordar este tipo de lesiones (tendinitis, contracturas, distonías, etc.) la fisioterapia ofrece un tratamiento adecuado a cada patología, así como unas pautas de prevención que son el mejor modo de evitar lesiones.

By first revisiting the design of Amsterdam's famed 'Concertgebouw', this article reflects on the implications of streaming services on current and future cultures of listening, and on the agency and autonomy of practicing musicians.

This chapter explores the implications of performance metrics as a source of self-knowledge and self-presentation. It does so through the figure of the contemporary musician. As performers on-stage and online, musicians are constantly assessed and evaluated by industry actors, peers, music fans, and themselves. The impact of powerful modes of quantification on personal experiences, understandings, and practices of artistic creation provides insight into the wider role that metrics play in shaping how we see ourselves and others; and how we present ourselves to others. Through in-depth interviews with emerging musicians, this chapter thus uses the artist as a lens through which to understand everyday life within the "performance complex."

1. Postal questionnaires
Two large-scale questionnaires were constructed with the assistance of computer scientist dr. Dr Catherine Loveday of the University of Westminster.
The first of these was sent to over 2,000 musicians listed on the Jazz Services database and to a further 1,200 members of the Musicians Union jazz section. Because of data protection restrictions, the researchers could not amalgamate these two lists and therefore some jazz musicians received two copies of the questionnaire. We believe that there is very little or no double submission as the second posting (to MU members) contained a reminder that the same questionnaire had already been mailed to those included on the JSL list. The response rate was about 30%.
The second questionnaire was sent to UK-based promoters listed on the JSL database. The response rate was about 25%.
2. Content analysis
This type of research was used mainly in two areas. The main results of the analysis of media coverage of jazz came from a detailed survey of national print and broadcast media over two four-week periods. This survey noted all mentions of jazz in national newspapers published in London and all jazz radio and television broadcasts. The second use of content analysis was to analyse the venues listed in the publications Jazz UK, Jazz Guide and Jazz in London and the frequency with which they presented jazz events.
3. Interviews
The researchers undertook a number of open-ended (unstructured) interviews with a wide range of figures in the jazz sector. These included individuals from funding agencies, the Musicians Union, the regional jazz organisation and jazz development sector, concert promotion, higher education and magazine publishing. There were also a number of semi-structured telephone interviews with record company managers and owners, in order to ascertain general data about this sector. Similar interviews were undertaken by Norton York of Rock School for the section on jazz education.
4. Analysis of published reports and accounts
The section on audience research was based mainly on national market research surveys undertaken by bodies such as arts councils, as the research team did not have resources to carry it its own audience surveys. The annual reports or accounts of various funding agencies, local authorities, higher education institutions and government departments were analysed to determine the types and level of financial support for jazz, including for jazz education. In addition, several academic reports on festivals commissioned by arts funding bodies provided valuable information.
The quantitative estimates for the size of the sector were generally calculated from two or more sources in order to double-check the data and make the published figure more robust.
For example, the number of jazz performance events was calculated by comparing:
(a) grossed-up figures from the promoters’ questionnaire
(b) content analysis of the listings pages in Jazz UK and Jazz in London.
(c) Jazz musicians’ research by Jazz Services carried out in 2003.

Some front matter including table of contents from a rough draft of an anthology with the working title "Outsight Anthology - 25 Years of Music Journalism". This is an anthology of a quarter century of music journalism in print, on the web, and on air. Starting in 1989 with music journalism in Detroit's Jam Rag, then a self-syndicated column of the alternative press, this morphed into Outsight Radio Hours: New & non-mainstream music with artist interviews. A new, 2-hour episode was produced weekly from the late 90s until July, 2014.

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I am closing in on a first draft of my book project and I plan to start sending out feelers today, so I hope to get some good feedback, ideas. I am keeping the full text out of distribution, but I am sharing the TOC and a bit of frontmatter: https://www.academia.edu/45175577/Outsight_Anthology_25_Years_of_Music_Journalism

I began with about 700 items. Now, 100% have been transcribed and all but 41 (about one half of one percent) and proofed, refined, and placed in the lager work. It takes me between an hour or two per interview to do that final step. So, I am about eighty hours of work away from a first draft. This should happen some time by the end of year. (I work mostly on Sundays and occasional evenings.)

The working draft is already closing in on eight thousand(!) pages, so I that to be about the length of the finished work. What do to with it!

I am looking for suggestions. One idea is to find some publisher to put out an extremely abridged version with something like a PDF of the entire work available as a download to purchasers. Another idea is to schedule out blog posts of one item per day over a couple of years.

Any other ideas? Pros and cons?

Thank you

By following the life trajectories and networks of various North African artists principally based in the United Kingdom and in France, it becomes apparent that a common phenomenon amongst migrant musicians is that they can become trapped in a matrix which simultaneously articulates three potentially conflicting dimensions: the artists' own musical pleasure and desires; their professional constraints and opportunities; and the social, historical and personal context of their migration experiences. However, artists have developed strategies which permit them not only to overcome such tensions arising from this matrix, but to use them as a strength. The aim of this paper is to explore a particular aspect of the above-mentioned strategies: the use of local politics to pursue their own cultural, social and political agendas within a multi-scalar perspective (local-national-transnational). Whilst musicians and/or musical promoters are well aware of the ambiguous ways in which local policies often conceive of arts as a means to promote both multiculturalism and community cohesion rather than to support artistic creation per se, some of them have also understood the strategic potential of their involvement in such activities. This will be demonstrated through the activities of a recently-established association (North African Arts W10) based in Ladbroke Grove, London, UK. This case-study is also an attempt to approach transnationalism through its quadruple dimension: mobility, networks, local anchorage, and imagined communities.

O objetivo deste estudo foi identificar as estratégias de reorientação da carreira do músico brasileiro nos últimos quinze anos diante das mudanças tecnológicas e institucionais ocorridas no período. O estudo procurou responder quais foram e como ocorreram as principais mudanças nas indústrias musicais brasileiras e quais foram seus impactos na carreira de músicos profissionais. Três vetores e agentes transformadores foram pesquisados: a tecnologia, as leis de incentivo fiscal à cultura e o SESC. O estudo foi conduzido por meio de entrevistas semiestruturadas, com 24 músicos da cidade de São Paulo e com ao menos quinze anos de carreira. A teoria das carreiras sem fronteiras foi utilizada como lente teórica do estudo. O estudo identificou as mudanças e os impactos da tecnologia, das leis de incentivo, do SESC, da atuação conjunta dos três vetores e agentes, o aumento do número de vagas de professores, a criação e a reestruturação de orquestras e a queda nos valores cobrados por atividades musicais. Foram identificadas duas estratégias de reorientação da carreira musical: a primeira foi a busca de uma atividade musical complementar remunerada para viabilizar trabalhos artísticos e a segunda foi empreendedorismo artístico. A pesquisa pretende contribuir para o estudo de carreiras, especialmente das indústrias criativas, com a identificação dos impactos tecnológicos e institucionais e com a análise de fenômenos particulares das indústrias musicais brasileiras.

The aim of this study was to identify the reorientation strategies of Brazilian career musicians in the last fifteen years due to technological and institutional changes. The study sought to answer what were and how there were major changes in Brazilian music industries and what were their impacts on career musicians. Three vectors and transforming agents were investigated: the technology, tax incentives for culture and SESC. The study was conducted through semi-structured interviews with 24 musicians in the city of São Paulo and with at least fifteen years of career experience. The theory of boundaryless careers was used as a theoretical lens in the study. The changes and the impacts of technology, tax incentives, SESC, the joint action of the three vectors and transforming agents, the growth in the number of places for teachers, the creation and restructuring of orchestras and the fall of the values of music services musicians were identified. Two music career reorientation strategies were identified: the first was the search for additional paid musical activity to enable artistic work and the second was the artistic entrepreneurship. The research aims to contribute to the study of careers, especially in the creative industries, with the identification of technological and institutional impacts and the analysis of particular phenomena in Brazilian music industries.

This article aims to increase our understanding of cultural intermediaries, their activities and the way they set up the relationship between the production and consumption of symbolic goods, with a specific focus on intermediaries of artistic work. Among them, in France, agents, tourneurs and managers are intermediaries of the music labour market who aim to develop artists’ career. What role do these underestimated yet more and more numerous intermediaries play in achieving pop artists’ recognition? Statistical data show a strong relation between the amount of symbolic capital of artists and having at least one of these intermediaries work for them. In order to analyse how they can help further the artist's access to recognition, I develop a specific use of the concept of symbolic capital that allows a better understanding of social mechanisms of value production. The analysis of qualitative data discloses the various resources and strategies intermediaries use in the artists’ acquisition of symbolic capital. They do promotional work, but also take calculated risks to how to place their artists in the market, and constantly work on their social network to create opportunities.

The aim of this study was to identify Overtraining Syndrome (OTS) sex differences in undergraduate music students. It is part of a bigger research study about OTS. It reports results of 3 longitudinal observations, across one semester, in which were measured 4 psychobiological OTS’s indicators: a) Psychological symptoms of OTS, b) health alterations, c) blood pressure, and d) cortisol. In order to observe sex differences, tendencies analyses and t-test were conducted (n=24). Results showed women and men process stress in different ways. Women presented elevated cortisol levels; more psychological and physiological symptoms than their male companions; and they were not able to regulate blood pressure at the end of the semester. Women musicians are more vulnerable to present OTS.

Though it operates on the margins of the Norwegian folk music scene, the munnharpe (jew’s harp) revival has been active since the 1960s and today boasts an active network of festivals, musicians, and blacksmiths. After contextualising the instrument’s position within Norwegian folk music and outlining the history of the munnharpe community, I explore the transmission and revitalisation of the munnharpe tradition, suggesting that a large part of the revival’s success lies in the availability and accessibility of archival recordings. I examine the transmission of playing technique and repertoire amongst musicians, then compare it with instrument building transmission amongst blacksmiths, analysing how the dynamic between munnharpe players and makers has shaped the instrument’s musical and material spheres. Tracing the symbiotic relationship between archives, recordings, players, and makers, I argue that this interplay has been central to the revival in both its past and present iterations.

This article scopes out five pressures that influence the vulnerability of musicians to alcohol and drug dependence: the pressure to be creative; the pressures generated by performance anxiety; the challenge of managing emotional turbulence such as doubts and fears while living a hectic, pressured life; social, cultural and workplace pressures to drink or use drugs; and dealing with identity issues (public persona versus private self, subcultural identity, and issues with fame and celebrity). Academic research and biographical material are woven into the article to explore and substantiate points being raised. The article concludes with a request for unpublished recovery stories from musicians that discuss the pressures, the way they used alcohol and drugs to deal with them, and how they recovered. The article potentially has relevance to visual artists, novelists and other creative people.

19. yüzyılda Avrupa'da yaşanan devrimler kıtanın ekonomik ve toplumsal görünümünü dönüştürürken yeni politik ve kültürel akımların da doğuşuna imkân sağladı. Avrupa'da burjuvazinin
yükselişi, milliyetçiliğin kitleler üzerindeki etkileyici ve birleştirici etkisi dönemin sanat ve kültürel ortamında derin izler bıraktı. Müzik toplumsal gelişmelerden en çok etkilenen bir sanat dalı olarak yaşanan devrimler dalgasından etkilendi. Devrim sonrası Romantik tepki, ardından ulus devletlere giden süreç, yeni ve ulusal bir müziğin kaynağını oluşturdu. Bu makalede burjuva Avrupa'nın yükselişinin 19. yüzyılda müzik yaşamı üzerinde ne tür etkiler bıraktığı incelenecektir.

During the 19th century, the European revolutions caused a major transition in the continent's economic and social dynamics but also paved way for novitious political and cultural approaches. The flourishing of bourgeois Europe and the bonding effect of the rising nationalism upon the masses left
deep impressions in arts and culture. Music was among the top arts to be affected by these revolutions.
The romanticisation of the revolution generated a beginning which would eventually lead to the creation of national music. This article analyses the corelation between the rise of the bourgeois Europe and the formation of the 19th century music in Europe.

Changing labour conditions in the creative industries – with celebrations of autonomy and entrepreneurialism intertwined with increasing job insecurity, portfolio careers and short-term, project-based contracts – are often interpreted as heralding changes to employment relations more broadly. The position of musicians’ labour in relation to these changes is unclear, however, given that these kinds of conditions have defined musicians’ working practices over much longer periods of time (though they may have intensified due to well-documented changes to the music industry brought about by digitization and disintermediation). Musicians may thus be something of a barometer of current trends, as implied in the way that the musically derived label ‘gig economy’ is being used to describe the spread of precarious working conditions to broader sections of the population. This article, drawing on original qualitative research that investigated the working practices of musicians, explores one specific aspect of these conditions: whether musicians are self-consciously entrepreneurial towards their work and audience. We found that, while the musicians in our study are routinely involved in activities that could be construed as entrepreneurial, generally they were reluctant to label themselves as entrepreneurs. In part this reflected understandings of entrepreneurialism as driven by profit-seeking but it also reflected awareness that being a popular musician has always involved business and commercial dimensions. Drawing on theoretical conceptions of entrepreneurship developed by Joseph Schumpeter we highlight how the figure of the entrepreneur and the artist/musician share much in common and reflect various aspects of romantic individualism. Despite this, there are also some notable differences and we conclude that framing musicians’ labour as entrepreneurial misrepresents their activities through an overemphasis on the economic dimensions of their work at the expense of the cultural.

Rukopisna verzija rada “Žene i glazba: Analiza diskurza jednog općeg leksikona”, objavljenog pod naslovom “Glazbene umjetnice”.
Sažetak: U radu se razmatra zastupljenost i način predstavljanja žena vezanih uz glazbu u jednom općem leksikonu, konkretno u Hrvatskom općem leksikonu, te poredbeno u jednom specijaliziranom glazbenom leksikonu. Činjenice o glazbenicama i glazbenicima zastupljenima u općem leksikonu analizira se na razini strukture ženskih glazbenih profesija u hrvatskoj i drugim glazbama; posebno se analiziraju glazbenice u odnosu na važne glazbenike popraćene portretima; na posljetku, analizira se način na koji se one opisuju, pri čemu se pokazuju određeni obrasci ženskih opisa i vrijednosti, povezani s obrascima opisa i vrijednosti pojedinih glazbenih profesija, područja, žanrova i nacionalnih tradicija. Veća je pozornost posvećena četirima glazbenim profesijama: pjevačkoj, skladateljskoj, pijanističkoj te etno/muzikološkoj i glazbeno-publicističkoj, koje su rodno i spolno različito pozicionirane u sustavu vrijednosti visoke kulture.

In the ancient confraternity of San Niccolò del Ceppo, Florence - one of the rare lay companies still in existence thereat - is preserved an unusual vanitas. The macabre theme of death is represented by a skeleton smashing musical instruments. Both partbooks (with legible notation) and scrolls provide a rich set of paratexts, with the overall motto according to Psalm 45 [46] ("He breaks the bow and shatters the spear"), and a clue to the painting's original function ("A group of musicians assembled for the sake of salvation"). Erroneously considered up till now a seventeenth-century anonymous work, the stylistic impact of Jacopo Ligozzi, a master of the vanitas genre, is strong. Among the iconographic models, a drawing recently attributed to Ligozzi can be identified, furthermore Federico Zuccari's Giudizio universale for the dome of Florence Cathedral. Based on archival evidence, the original context of the vanitas painting as 'apparatus'nwithin the collective rituals of a musicians' confraternity can now be determined, furthermore its author (Michele Lepri) as well as the year of tis creation (1721). Compliant with the new dating are also organological details, such a s the characteristic features of the early eighteenth-century oboe.

This research project assesses the factors, both on and away from the instrument, contributing to musculoskeletal pain among current tertiary drum kit players in Australia. Whilst performing arts medicine continues to grow as a research field, a lack of information and primary research exists for drum kit players wanting to take better care of their health and prevent playing-related injuries. Two new methods of data collection have been created, the Drummers’ Health and Pain Assessment Questionnaire and the Summary Index of Participants Self-Reported Pain, in order to assess the current state of health and injury prevention awareness within both drum kit majors and percussion majors who regularly play drum kit. Specifically, these methods generate new data concerning playing habits, the prevalence of PRMDs, injury history and treatment, most affected pain regions, internal/external pressures, general health, and stress levels.

Factor analysis has been undertaken along with a deconstruction of the questionnaire responses, and the researcher’s autoethnographic reflections geared towards optimal performance preparation in order to reveal emerging trends, patterns and overall findings. The outcomes of this study indicate that musculoskeletal problems are of concern to tertiary drum kit players and are exacerbated by contributing factors away from the instrument including performance anxiety, fatigue, stress, inconsistent warm up routines, lugging gear and a lack of muscular strength. My own experience of suffering a playing-related injury has sparked my interest in performing arts medicine and my desire to: 1) contribute new knowledge to the field; 2) provide new research data collection methods relevant to drum kit players; and 3) increase the awareness of injury risk factors and prevention for drummers, percussionists and educators of all levels.

Already in the middle of the 3 rd millennium BC a great number of texts and iconographic documents refer to music and musicians, and a complex hierarchy of musicians is attested. But the beginnings of Egyptian music are much earlier. At first I give an overview of the musicians and instruments in Ancient Egypt. After that, the earliest instruments will be shown. Afterwards the context will be discussed, as well as the question where the instruments come from.

While mainstream accounts of the impact of internet technologies on the music industry have emphasised the crisis of the major-dominated mainstream recording industry, a more optimistic discourse has also been promoted, emphasising the opportunities that the internet creates for independent musicians. These same new technologies, it is argued, enable artists to reach new global audiences and engage with them in ways that can facilitate more stable, financially self-sustaining independent careers. Little research has been conducted, however, on the effect of new internet technologies on the careers and practices of independent musicians. This paper, part of a pilot project on the working experiences of independent musicians, examines how musicians signed to small labels in the South-west of England use social media in their careers and discusses their understanding of its benefits and disadvantages. It concludes that social media use is an essential tool in the arsenal of an independent musician, and does provide advantages for them, but significant disadvantages have also emerged and thus the benefits of social media for independent musicians have likely been overstated.

ABSTRACT

Rahadi, Akhmad Alfan. 2017. The Articulation of Post Hardcore Movement by Rites Of Spring band. Study Program of English, Department of Languages and Literatures, Faculty of Cultural Studies, Universitas Brawijaya. Supervisor: Henny Indarwaty, M.A.
Keywords: Post-hardcore, Subculture, Popular Culture, Articulation, Rites Of Spring


Post hardcore is different from hardcore punk in a way of artistic aspect and attitude aspect. Hardcore punk was celebrated in Washington DC from 1980 until its decline in 1984. In 1985, just when hardcore punk began to dim, Rites of Spring emerged with post-hardcore. Although both are deeply rooted in a punk subculture, and have similar way of fashion and D.I.Y ethic, Rites of Spring articulated post-hardcore’s songwriting, music arrangement, vocal grain, attitude and interaction with fans differently. This thesis proposes three problems to be analyzed, those are; how Rites Of Spring articulation was labeled Post Hardcore, why the differences happened between Rites Of Spring’s Post Hardcore and Hardcore punk bands and why Rites Of Spring articulated their music that way.
The method and theory applied in this thesis is Stuart Hall’s Articulation method and Articulation concept. This research use cultural studies approach and supported by Popular Music theories by Richard Middleton. Review of Hardcore Punk movement in Washington DC in the 1980s and the Post Hardcore movement in the mid 1980s also presented to gain better understanding of the background of each movement. The articulation concept treated cultural practices as signifying practices, in which the meaning of a practice or text not superficially apparent but drawn from the active product of the text’s social articulation, of the web of connotations and codes into which it is inserted. By using this approach, the researcher is able to focus the study to recognize the institutional meanings and contextual meanings, based on the time and space in which it occurs. Those meanings embedded in practices and text, the conventions that inform their production, and the role of situated human agents as audience and interpreters of the practice and text.
The result of this study is that before Rites of Spring’s articulation was labeled as post-hardcore, it was labeled Emo-core. Both labels were solely given by the media. However Rites of Spring caught in paradox by rejecting Emo-core term due to its feminine connotation against their existing patriarchy. Furthermore, the differences that happened between Post-hardcore and Hardcore punk was caused by the elimination attempt of the masculine attribute of aggression of the slam-dance culture. Post-hardcore countered the masculinity attributes of hardcore punk by countering the stoicism and aggression of the hardcore punk lyric and musical arrangement through the confessional lyric and the addition of soft-loud dynamic.
 

Tujuan penulisan karya ilmiah ini adalah untuk menjelaskan pengertian dari menjadi seorang musisi gereja yang terampil dan profesional berdasarkan kitab 1 dan 2 Tawarikh serta bagaimana menjadi seorang musisi gereja yang terampil dan professional berdasarkan kitab 1 dan 2 Tawarikh. Adapun hasil penelitian ini dapat disimpulkan sebagai berikut: Pertama, untuk menjadi musisi gereja yang terampil dan profesional dari sisi kerpibadian, seorang musisi gereja haruslah mengembangkan karakter: dewasa, rendah hati, setia, menghindari persaingan, bertanggungjawab, memiliki integritas, disiplin dan loyal. Kedua, pelayanan seorang musisi gereja didasarkan sebagaimana pelayanan kaum Lewi yaitu mereka yang dikhususkan Allah untuk melayani-Nya melalui peribadatan di Bait Suci dengan demikian mereka adalah pelayan yang terampil dan profesional dari sisi kepribadian: kerohanian, sosialita, dan musikalitas. Ketiga, untuk menjadi musisi gereja yang terampil dan profesional dari sisi kerohanian, seorang musisi gereja adalah orang yang telah lahir baru, memiliki panggilan pelayanan, hidup dalam penyerahan diri yang total dalam Tuhan, taat firman Tuhan, hidup dalam iman, menjadi berkat, dan tidak tergantung pada bayaran. Keempat, untuk menjadi musisi gereja yang terampil dan profesional dari sisi musikalitas, seorang musisi perlu mengembangkan kemampuan dalam memahami teori musik dan praktik, kreatif dan memiliki kepekaan terhadap musik itu sendiri. Kelima, untuk menjadi musisi gereja yang terampil dan profesional dari sisi sosialita, seorang musisi gereja perlu menjadi contoh dan teladan dalam hubungan dengan sesama pelayan, terhadap jemaat, dan masyarakat.

Kata Kunci: Musisi Gereja, Terampil, Profesional, 1 dan 2 Tawarikh

“An investigation into the impact of Spotify on grassroots musicians located in Scotland.”

This dissertation examines the impact of the recent proliferation of music streaming services on grassroots musicians operating in Scotland. Using Spotify as a case study, the primary aim of the thesis is to conduct a critical examination of the challenges and opportunities music streaming presents to musicians..

In order to address the central research question, the study employs two main data collection methods: desk based research and semi-structured interviews with musicians. The desk research examines and critiques a body of secondary source data published by Spotify and other music industries sources. The semi-structured interviews with six key stakeholders provide valuable insights into grassroots musicians’ attitudes and experiences of Spotify in particular, and music streaming more generally. 

The main findings of the study are the first hand impact on Scottish grassroots musicians financially and how Spotify’s exposure aspect benefits them. Also the reasonings being these musicians distributing their music via this platform is revealed. This includes accommodating their fans needs and realising there is little alternative to streaming that guarantee’s their musics exposure.

IN THE NET OF DISCIPLINARY AND REGULATORY MECHANISMS:
MUSICIANS IN BELGRADE 1941−1944

The subject of this doctoral dissertation is the status of musicians in Belgrade during the German occupation in World War II. The theoretical framework of the research is based on Michel Foucault's historical relational biopolitics, which has proven to be suitable to assess the status of musicians in a particular crisis of "social state" and based on the example of actual practices and knowledge. The dissertation applies biopolitical strategies at two operational levels, which, like Foucault's disciplinary (micro) and regulatory mechanisms (macro), are pervasive. Firstly, biopolitics is applied to the analysis of concrete knowledge and practices which are the basis for a hypothetical framework for the future regulation of society. In this regard, we argue that biological and racial criteria are dominant in the organization of all aspects of the society in occupied Belgrade. Therefore we followed two interpretations of biopolitics - German and Serbian. Their encounters or differences, and their influence on the profession of musicians during the occupation period, as well as possible hypothetical ideas of the role of musicians in the future society, were viewed as a part of the general population's biopolitics. At the same time, we analyzed seemingly thin boundaries between the Nazi biopolitics in the homeland and in occupied Belgrade as well as those between the Serbian biopolitics and the exemplary Nazi biopolitics. In this regard, we argue that, against Nazi biopolitics based on doctrinal racial theory, a clear hierarchy of nations and cultures in the future New Europe, the Serbian version of biopolitical regulation of society was focused on preserving the collective entity represented through the concepts of "rural dystopias", framed by ideas of cooperative caste-like society system, restoration of the Middle Ages, the Saint Sava cult, ruralization and patriarchy. Although Serbian biopolitics was inferior to Nazi, viewed as different biopolitical programs, we conclude that both biopolitical versions showed insufficiently refined regulation, and dominance of disciplinary measures that led to the self-destruction of both ideals, of Aryan and of Serbian collective entities. Secondly, we analyzed actual encounters of disciplinary practices and knowledge in occupied Belgrade, by certain power centres and interests, and influence of these encounters on the position of musicians employed at four major institutions: the Serbian National Theater, the Kolarac Foundation with the Kolarac National University, the State Music Academy with Secondary Music School and Soldier’s Radio Belgrade (Soldatensender Belgrad). By applying biopolitical perspective, we conclude that the excommunicated and the ineligible musicians constituted an equal half, the Other without whom it was impossible to define "what is disciplined and what is it that remains." In addition to the analytical goal of this dissertation, which is to determine boundaries between different versions of biopolitics - Nazi and Serbian, and their related visions of future societies which influenced the status of musicians, this dissertation also pursued an interpretative-theoretical goal: pointing out adequate social classification of musicians that would fulfill sociological criteria and would be applicable to the analysis of the position of musicians in the occupied metropolises during WWII. In this regard, interpretative theoretical approach resulted in classification of musicians in occupied Belgrade into five basic groups: 1) ineligible musicians such as Jews, Communists, Roma, and to some extent Freemasons 2) “opportunists” as the  largest group of educated musicians in German-speaking areas or prominent music professionals, 3) foreign musicians, 4) eligible musicians, and 5) neutral musicians who remained largely inactive during this period. The failure of Nazi biopolitics in the sphere of music is evident through the dominance of "opportunist" musicians and abscence of ideals of "Nazi Aryan music" as well as of a clear criteria of "eligibility". Finally, the main premise on which this dissertation is based is that there is no autonomously German or Serbian history of occupation of Belgrade, and that both the position of musicians and the attitude towards musical practices were created in line with coinciding of the aforementioned. The sociological segmentation of the musicians in this dissertation is presented as an example how clusters in the society of the Third Reich and other metropoles under the Nazis, not only in occupied Belgrade, can be further compared.

Keywords: musicians, Belgrade, WWII, Michel Foucault, disciplinary mechanism, regulatory mechanism, biopolitics, Jews, Roma people, opportunists

Este libro cuenta una historia de la música en Chile desde la pers¬pectiva del trabajo, la cual no ha sido suficientemente explorada hasta ahora. En vez de priorizar por la obra de arte, como se ha hecho tradicionalmente, la autora pone al centro el trabajo de los músicos y sus organizaciones gremiales. El relato lo construye a partir de diversas fuentes, muchas de ellas inéditas y escritas por los músicos que trabajaron entre 1893 y 1940 en Valparaíso. Así, se centra en esta ciudad portuaria para luego ampliar el foco al contexto nacional, entendiendo a Valparaíso como el espacio propicio para la circulación nacional y transnacional de las ideas, repertorios y músicos. Orfeones, bandas de jazz, directores de ópera, de orquestas de teatros, pianistas de cine, compositores de piezas de vanguardia, de canciones y foxtrots protagonizan esta historia, que se entrecruza con la del movimiento obrero, de las industrias del entretenimiento, dialoga con la historia de las mujeres y la formación de instituciones musicales en el país.

My contribution focuses on the archival resources and special collections available in music libraries and archives (in and outside Italy), which are of interest for the study of Fascist persecution against Jewish musicians, composers, singers, and music critics, both Italian and foreigners.

ABSTRACT

Rahadi, Akhmad Alfan. 2017. The Articulation of Post Hardcore Movement by Rites Of Spring band. Study Program of English, Department of Languages and Literatures, Faculty of Cultural Studies, Universitas Brawijaya. Supervisor: Henny Indarwaty, M.A.
Keywords: Post-hardcore, Subculture, Popular Culture, Articulation, Rites Of Spring


Post hardcore is different from hardcore punk in a way of artistic aspect and attitude aspect. Hardcore punk was celebrated in Washington DC from 1980 until its decline in 1984. In 1985, just when hardcore punk began to dim, Rites of Spring emerged with post-hardcore. Although both are deeply rooted in a punk subculture, and have similar way of fashion and D.I.Y ethic, Rites of Spring articulated post-hardcore’s songwriting, music arrangement, vocal grain, attitude and interaction with fans differently. This thesis proposes three problems to be analyzed, those are; how Rites Of Spring articulation was labeled Post Hardcore, why the differences happened between Rites Of Spring’s Post Hardcore and Hardcore punk bands and why Rites Of Spring articulated their music that way.
The method and theory applied in this thesis is Stuart Hall’s Articulation method and Articulation concept. This research use cultural studies approach and supported by Popular Music theories by Richard Middleton. Review of Hardcore Punk movement in Washington DC in the 1980s and the Post Hardcore movement in the mid 1980s also presented to gain better understanding of the background of each movement. The articulation concept treated cultural practices as signifying practices, in which the meaning of a practice or text not superficially apparent but drawn from the active product of the text’s social articulation, of the web of connotations and codes into which it is inserted. By using this approach, the researcher is able to focus the study to recognize the institutional meanings and contextual meanings, based on the time and space in which it occurs. Those meanings embedded in practices and text, the conventions that inform their production, and the role of situated human agents as audience and interpreters of the practice and text.
The result of this study is that before Rites of Spring’s articulation was labeled as post-hardcore, it was labeled Emo-core. Both labels were solely given by the media. However Rites of Spring caught in paradox by rejecting Emo-core term due to its feminine connotation against their existing patriarchy. Furthermore, the differences that happened between Post-hardcore and Hardcore punk was caused by the elimination attempt of the masculine attribute of aggression of the slam-dance culture. Post-hardcore countered the masculinity attributes of hardcore punk by countering the stoicism and aggression of the hardcore punk lyric and musical arrangement through the confessional lyric and the addition of soft-loud dynamic.
 

Este trabajo tuvo como objetivo determinar el perfil y las correlaciones existentes entre las inteligencias múltiples en estudiantes del programa de Licenciatura en música de la Universidad del Atlántico; para así caracterizar mejor a esta población, y que la información encontrada pueda tener un uso pedagógico en el futuro. Para realizar este estudio, se hizo un diseño correlacional donde se seleccionó una muestra intencional y se midieron las inteligencias múltiples a través del instrumento MIDAS. Se obtuvo un perfil de inteligencias organizándose
así de mayor a menor desarrollo: musical, interpersonal, intrapersonal, lingüística, matemática, espacial, corporal y  naturalista. Finalmente se obtuvieron las correlaciones de la inteligencia musical  con la interpersonal y a su vez con la lingüística, además de algunas correlaciones entre las otras inteligencias.
Abstract: This study aimed to determine the profile and the correlations between multiple intelligences of music students from the Faculty of Fine Arts at Atlántico University; and thus characterize this population and provide an academic approach to the developed information in the future. For this study, a correlational design was used and multiple intelligences were
measured through the MIDAS instrument. The intelligence profile obtained was organized from
high to low development as follows: musical, interpersonal, intrapersonal, linguistic,



mathematical, spatial, corporal, and naturalistic. Finally correlations between musical and
interpersonal, and musical and linguistic intelligences were found, as well as some correlations
among the other intelligences.
Keywords: Multiple Intelligences, MIDAS, Cognition in Music.

Trabajo de grado que busca desarrollar un lenguaje de acompañamiento para bajo eléctrico con base a las células rítmicas de la percusión folclórica (alegre, tambora, llamador, y maracas) en los ritmos de las músicas tradicionales de bullerengue chalupiao, cumbia, tambora, puya o jalao, son corrido y aplicarlo en una composición original para quinteto de bajos mas bajo solista, que muestre su desarrollo y pertinencia en estas músicas.
Esta investigación propone, de forma indirecta, la posibilidad de abordar el estudio del bajo eléctrico desde las músicas tradicionales autóctonas de tambores y a su vez motivar a espacios para nuevas investigaciones sobre las músicas de Córdoba y Sucre que contribuyan a ampliar el lenguaje de este instrumento en estos formatos y su proyección a nivel académico. La investigación reúne muchas vivencias personales y también del acervo cultural sabanero, los datos se recolectaron apoyado en grandes instrumentistas  tradicionales de Córdoba y Sucre, que luego se compilaron en Bogotá.

Degree work that seeks to develop an accompaniment language for electric bass based on the rhythmic cells of folk percussion (Alegre, tambore, llamador, and maracas) in the rhythms of traditional music of bullerengue chalupiao, cumbia, tambora, puya or jalao, son corrido and apply it in an original composition for bass bass quintet soloist, which shows its development and relevance in these musics.
This research proposes, indirectly, the possibility of approaching the study of electric bass from traditional drums and in turn motivating spaces for new research on the music of Córdoba and Sucre that contribute to expanding the language of this instrument in these formats and their projection at the academic level. The research brings together many personal experiences and also from the Sabanero cultural heritage, the data was collected supported by large traditional instrumentalists from Córdoba and Sucre, which were then compiled in Bogotá.

This dissertation explores the role of the musician in Norwich from Elizabeth’s ascension to the throne in 1558 to the Restoration of 1660. Norwich was renowned for its waits, placed alongside London’s for their excellence and expertise. However, little scholarship has shed light on musicians in general for the city. Amateur instrumentalists, religious music, and the authority’s restrictions on musicians have never been subject to a city-specific study. This research will consult: municipal records, such as those from the Mayor’s Court and City Assembly; as well as ecclesiastical records from the Norwich Diocese; wills and inventories of Norwich citizens; and print in circulation at the time.

The following three chapters will reconstruct this world. Chapter one explores the musician as an employee. Divided into four parts, it will explore those employed by the city, by the cathedral, playing on the street while busking for coin, and those that practised recreationally. The second chapter delves into the musician as an artist. Music is frequently lauded for its beauty and artistic merit, and those that practised in Norwich were no strangers to such praise. Here, musicians will be discussed in relation to their religious symbolism, and their regal and processional imagery. The third and final chapter will provide the obverse to the previous chapter. Not all musicians were lauded, and many were criticised when they did perform. This chapter will examine the boundaries of what constituted as uncouth, illegal, and inept.

This study reveals that Norwich was hardly a city with deaf ears. Musicians were an unmistakable part of the social fabric of Norwich throughout this period, and represented both the pride and joy of Norwich, while also contributing to what some saw as the corruption of the people. While a contingent of the Norwich upper classes have already been discovered as musically inclined, this dissertation also adds to the historiography that this predisposition to playing and performing music was also present across the middle-classes.

The rare collection of instrumental music from the so-called Schrank II in Dresden contains among others also the unique instrumental compositions by Bohemian composers. The article aims to present these composers and to analyse preserved sources.