Relevant bibliographies by topics / Instrumentalists

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Instrumentalists'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Instrumentalists"

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Matthews, Wendy K., and Anastasia Kitsantas. "Group Cohesion, Collective Efficacy, and Motivational Climate as Predictors of Conductor Support in Music Ensembles." Journal of Research in Music Education 55, no. 1 (April 2007): 6–17. http://dx.doi.org/10.1177/002242940705500102.

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In the present study, we examined whether collective efficacy, group cohesion (task and social), and perceived motivational climate (task-involving and ego-involving orientations) in a music ensemble predict instrumentalists' perceived conductor support. Ninety-one (N = 91) skilled high school instrumentalists participated in the study. To assess the variables, participants responded to a number of surveys during rehearsals. It was hypothesized that instrumentalists' perceptions of collective efficacy, group cohesion, and a task-involving motivational climate cultivated by the conductor would predict conductor support. Results showed that, collectively, these variables accounted for 46% of the variance in instrumentalist perceptions of a supportive conductor. Findings of this study may provide guidance on how conductors can create learning environments that instill a strong sense of support for their instrumentalists.
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Thiebaud, Robert S., Takashi Abe, W. Matt Denning, Jeremy P. Loenneke, Micah J. Okerlund, Joe S. J. Ryan, Whitney Boyce, Maggie McBride, and Jared Hernandez. "To Play or Not to Play: Can an Instrument Really Impact Lip and Tongue Performance?" Cosmetics 7, no. 2 (June 24, 2020): 50. http://dx.doi.org/10.3390/cosmetics7020050.

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(1) Background: Increasing tongue and lip strength may help improve various speech and swallowing disorders, but it is unclear if instrumentalists who use these muscle groups for long periods of time have greater strength and endurance compared to controls. It is also unclear if instrumentalists can more accurately estimate various exercise intensities. The purpose of this study was to determine differences in lip and tongue strength and endurance between instrumentalists and non-instrumentalists (controls). A secondary purpose was to assess differences in ability to estimate various exercise intensities between the two groups. (2) Methods: Instrumentalists and controls’ maximum strength and endurance were measured using the IOPI Pro medical device. In addition, 40%, 60% and 80% of maximum strength were estimated in a randomized order. (3) Results: No significant differences were found between instrumentalists and controls in strength or endurance or the ability to estimate various intensities. Overall, participants were better at estimating tongue strength at moderate intensities and lip strength at higher intensities. (4) Conclusion: Tongue and lip strength and endurance and the ability to estimate exercise intensities are not impacted by years of instrumentalist training compared to healthy controls.
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Brinkmann, Matthias. "Indirect Instrumentalism about Political Legitimacy." Moral Philosophy and Politics 6, no. 1 (May 27, 2019): 175–202. http://dx.doi.org/10.1515/mopp-2018-0024.

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Abstract Political instrumentalism claims that the right to rule should be distributed such that justice is promoted best. Building on a distinction made by consequentialists in moral philosophy, I argue that instrumentalists should distinguish two levels of normative thinking about legitimacy, the critical and applied level. An indirect instrumentalism which acknowledges this distinction has significant advantages over simpler forms of instrumentalism that do not.
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Matherne, Matthew. "The Value of Socratic Inquiry in the Apology." Ancient Philosophy 43, no. 2 (2023): 337–55. http://dx.doi.org/10.5840/ancientphil202343220.

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What makes Socratic inquiry valuable? A standard response is what I term instrumentalism: Socratic inquiry is merely instrumentally valuable; it is valuable only because it produces valuable results. This paper challenges instrumentalism. First, I present two value puzzles for instrumentalists and argue that these puzzles are best solved by denying instrumentalism. Then, I survey passages in the Apology that point to the source of Socratic inquiry’s non-instrumental value.
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Kuebel, Christa R. "The Journey From Instrumental to Elementary General Music Education: How to Succeed in a New Specialization." General Music Today 32, no. 1 (May 2, 2018): 13–17. http://dx.doi.org/10.1177/1048371318773366.

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For various reasons, instrumentalist music education majors may find themselves teaching in an elementary general music classroom. Based on research and experience, this article will discuss why the transition from instrumental to elementary general music education may occur as well as offer suggestions to support instrumentalists new to the elementary general music classroom.
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Jovicevic, Jasna. "Gender perspectives of instrumental jazz performers in southeastern Europe." Muzikologija, no. 30 (2021): 149–64. http://dx.doi.org/10.2298/muz2130149j.

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I investigate constructed social platforms for female jazz instrumentalist, with a particular emphasis on the Balkan cultural space of Southeastern Europe (former Yugoslav countries). In this region, female jazz instrumentalists are confronted with multiple systems of rejection, facing double standards of the Balkan social-ideological patterns, typical for the patriarchal tradition, reproduced and incorporated within a micro context of the already gendered music genre. I analyze the image of female jazz instrumentalist in the public cultural space where jazz is created and consumed. This study presents autoethnographic testimonies as a subjective point of view.
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Pak, Chong H., and Kris Chesky. "Prevalence of Hand, Finger, and Wrist Musculoskeletal Problems in Keyboard Instrumentalists: The University of North Texas Musician Health Survey." Medical Problems of Performing Artists 16, no. 1 (March 1, 2001): 17–23. http://dx.doi.org/10.21091/mppa.2001.1004.

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Musculoskeletal problems are considered significant health factors for performing artists, especially instrumentalists. Although numerous studies exist that document the extent to which musicians experience these problems, serious consideration has not been given to musicians who play the keyboard, or the type of music played by each instrumentalist. Furthermore, although the Internet is an emerging tool for research, epidemiologists have been surprisingly slow in adapting to this novel way to conduct surveys. Using data derived from the University of North Texas Musician Health Survey (UNT-MHS) conducted over the Internet, this study assessed the prevalence of upper-extremity musculoskeletal problems among 455 keyboard instrumentalists and the association with musician type, daily playing time, gender, and age. Age and gender were found to be significant risk factors, while musician type and daily playing time did not show statistical significance.
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Webb, John, and Kenneth Mobbs. "Australian Instrumentalists." Galpin Society Journal 49 (March 1996): 280. http://dx.doi.org/10.2307/842436.

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Nair, Rahul, Chihiro Tanikawa, and Joao N. Ferreira. "Orofacial Pain, Musical Performance and Associated Coping Behaviors, Psychological Distress and Disability among Asian Young Adults." Journal of Clinical Medicine 12, no. 4 (February 6, 2023): 1271. http://dx.doi.org/10.3390/jcm12041271.

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Musicians often report orofacial pain (OFP) and performance-related psychological distress related to occupational neuromuscular overuse, but to date, no study has been performed in Asian musicians to assess these factors. This study evaluated OFP, psychological distress, coping behaviors, and disability among Asian musical performers. A total of 201 participants in Singaporean music ensembles were surveyed from which 159 met the inclusion criteria for vocalists or instrumentalist musicians (mean age 20.26 ± 2.20 years). Self-administered questionnaires assessed musical practices, jaw/neck pre-conditioning exercises, pain-related temporomandibular disorders (TMD), OFP descriptors, pain chronicity and disability, coping behaviors and psychological distress. Univariate and multi-variate analyses were carried out. OFP, while performing, was more than two-fold higher in instrumentalists when compared to vocalists (41.4–48% vs. 17.2%, p = 0.002). A similar trend occurred for OFP that progresses while playing (p = 0.035) and for persistent OFP that reduces playing (p = 0.001). There were no differences in psychological distress, pain coping and disability between groups. Vocalists were found to practice jaw/neck pre-conditioning exercises more frequently (75% vs. 4–12.9% in instrumentalists, p < 0.0001). While performing, Asian vocalists reported less OFP when compared to instrumentalists. Future prospective studies are needed to confirm if pre-conditioning exercises play a protective role against OFP in vocalists.
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Newberry, Byron. "Are engineers instrumentalists?" Technology in Society 29, no. 1 (January 2007): 107–19. http://dx.doi.org/10.1016/j.techsoc.2006.10.004.

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Dissertations / Theses on the topic "Instrumentalists"

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Meidell, Katrin Liza. "Epidemiological Evaluation of Pain Among String Instrumentalists." Thesis, University of North Texas, 2011. https://digital.library.unt.edu/ark:/67531/metadc68015/.

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Pain and performance anxiety (PA) are common problems among string players. Therefore, the purpose of this study was to assess and compare PA and prevalence rates and locations of pain in violinists, violists, cellists, and bassists. Subjects completed a questionnaire that included sections on demographics, musical background, practice habits, musculoskeletal problems, non-musculoskeletal problems, and PA. Anthropometric data were gathered on all 115 subjects. Results show that there are differences in both pain and PA across instrument groups. Violinists reported the highest number of pain sites, followed by violists, bassists, and cellists. The left shoulder was the most-often reported pain site, followed by the neck and right shoulder. Aching was the most cited term selected to describe pain. Several anthropometric indices were significantly correlated with pain, notably right thumb to index finger span in both cellists and bassists. In all instrument groups, at least one pain site was significantly correlated with one of four PA questions. Results warrant the development of intervention strategies and further study of the relationship between pain and performance anxiety.
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Hungerford, Delores Ann. "The use of a flexible fiber optic scope to view the oral cavities of experienced and less experienced clarinetists /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/11293.

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Braun, Elizabeth Longo. "Music Description and Expressive Performance by Middle School Instrumentalists." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1354596370.

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Reddington, Helen. "Unprecedented access? : women instrumentalists in punk bands 1976-1984 : an exploration." Thesis, University of Westminster, 2004. https://westminsterresearch.westminster.ac.uk/item/93411/unprecedented-access-women-instrumentalists-in-punk-bands-1976-1984-an-exploration.

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This study has been undertaken because of a gap in popular music and subcultural history. The significance of the first large influx of women into rock music, as punk instrumentalists in the late 1970s, has been underplayed; instead, women punks have been stereotypically documented. Girls' and womens' roles as producers of music, and their consequent contribution to the sound of punk music, have been subjected to a collective amnesia. Four areas of literature have been reviewed to clarify the reasons for, and extent of the gap: writings on subcultures and scenes, writings on women in rock and pop, writings on the socio-political context, and writings on punk. One of the main foci of the study has been to identify the reasons for the fading away of the presence of women instrumentalists in the early 1980s. I wanted to discover why this phenomenon had such a short time span. The primary research involved a newspaper survey (300 local papers were contacted across Britain) from which 24 useful questionnaires were gleaned; I interviewed 15 women who were in bands at the time, as well as a radio DJ, record company owner, band manager, and several male band members and political activists from the scene. Fanzines, music papers and the feminist magazine Spare Rib have also been referred to extensively. I have also had my own recollections of the time to draw upon. Following the literature review, the study is divided into sections on Access (enabling and empowering factors), Media Gatekeepers and Cultural Intermediaries (external controls and filters), The Brighton Scene (a case study of my own local punk envirom-nent), Noise, Violence and Femininity (the practice of music making by these women, and the resistance to it), the Aftermath (exploring factors contributing to the ending of the moment), and Conclusions.
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Ballard, Dennis L. "Relationships between college level wind instrumentalists' achievement in intonation perception and performance /." Electronic version (link to abstract and document) ProQuest document ID:1500055051 Publication Number: AAT 3298145 Electronic version (link to document), 2006. http://proquest.umi.com/pqdlink?did=1500055051&sid=1&Fmt=2&clientId=12010&RQT=309&VName=PQD.

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Cecconi-Roberts, Lecia Anne. "Effects of practice strategies on improvement of performance of intermediate woodwind instrumentalists /." free to MU campus, to others for purchase, 2001. http://wwwlib.umi.com/cr/mo/fullcit?p3012957.

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Callahan, Gary L. "The measurement of finger dexterity in woodwind and brass instrumentalists : a developmental study /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1340907240.

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Scalise, David. "THE EFFECTS OF LEARNING PRACTICES ON MOTIVATION AND ENGAGEMENT AMONG HIGH SCHOOL INSTRUMENTALISTS." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1433543547.

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Griffiths, Noola K. "The role of concert dress in the performances of solo female classical instrumentalists." Thesis, University of Sheffield, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.500284.

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This thesis examines the role of concert dress of solo female instrumentalists performing within the Western classical tradition. Previous studies of the effect of visual information in performance have largely focussed on the role of expressive body movement, or have treated concert dress as a confounding variable in the study of other visual factors. The effect of specific styles of dress in performance has not been previously researched. However, some have argued that there is a dominant beauty culture within classical performance, which may have a negative effect on perceptions of female performers' musical abilities. An analysis of promotional images of performers and images of soloists playing, suggests that this dominance of beauty culture exists only in explicitly promotional images of performers. Findings suggest that style of concert dress and expressive body movement style have a significant effect on observer perceptions of performance quality. The results suggest that practical, social and psychological factors influence performers' choice of concert dress and audience perceptions of performance due to dress.
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Tomlison, Scott. "The effects of recorded models on the performance achievement of beginning brass instrumentalists /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9964004.

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Books on the topic "Instrumentalists"

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1945-1999, Mēthā Mūyen, ed. Mēthā Mūyen. [Krung Thēp]: Somdet Phrathēppharattanarātchasudā Sayāmbarommarātchakumārī, 1999.

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1914-, Gavāyi Puṭṭarāja, and Hirēmaṭha Vhi Bi 1958-, eds. Jñānadēgula: Śrī Vē. Paṃ. Ḍā. Puṭṭarāja Kavi Gavāyi gaḷavara abhinandana grantha. Gadaga: Śrī Vē. Paṃ. Ḍā. Puṭṭarāja kavi Gavāyigaḷavara abhinandana Grantha Samiti, 1989.

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Sijāpati, Rameśajaṅga. Ojhelabhitrakā kalāsādhaka: Jīvanīparaka nibandha saṅgraha. Bhaktapura: Rāmajaṅga Sijāpati, 2000.

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1909-1997, Sakon Kǣophenkāt, ed. ʻAnusō̜n ngān phrarātchathān phlœ̄ng sop Khrū Sakon Kǣophenkāt, Bō̜mō̜., na chāpanasathān, Wat Phikunngœ̄n, ʻŌ̜. Bāng Yai, Čhō̜. Nonthaburī, Wanʻangkhān thī 14 Tulākhom, Phō̜. Sō̜. 2540, wēlā 17.00 Nō̜. [Nonthaburi: Pakit-Samrūai ʻĒmʻim, 1997.

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Lazarof, Henri. Suite for solo percussion and five instrumentalists. Bryn Mawr, Pa: Merion Music, 1991.

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Appumārār, Pallāvūr. Pr̲amāṇaṃ: Ātmakatha. Kozhikode: Pāppiyōṇ, 2002.

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Gainey, Denise. Kalmen Opperman: A legacy of excellence : passing on the flame : a biography. New York: Carl Fischer, 2018.

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Svarṇa Saṅgīta Pratibhā, Saṅgīta Samāroha (2004 North Central Zone Cultural Centre, Allahabad, India). Svarṇa Saṅgīta Pratibhā, Saṅgīta Samāroha: 10-14 Mārca, 2004, Saṃskr̥tika Kendra Prekshāgr̥ha, Sī. Esa. Pī. Siṃha Mārga, Ilāhābāda. Naī Dillī: Saṅgīta Nāṭaka Akādemī, 2004.

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Rose, Algernon S. Talks with bandsmen: A popular handbook for brass instrumentalists. London: T. Bingham, 1996.

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Colon, Yan Colón. A Composing Ensemble: Creating Collaboratively With High School Instrumentalists. [New York, N.Y.?]: [publisher not identified], 2020.

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Book chapters on the topic "Instrumentalists"

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Féron, François-Xavier, and Guillaume Boutard. "Instrumentalists on solo works with live electronics." In Live Electronic Music, 101–30. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315776989-6.

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Carpenter, Stanley R. "Instrumentalists and Expressivists: Ambiguous Links between Technology and Democracy." In Democracy in a Technological Society, 161–73. Dordrecht: Springer Netherlands, 1992. http://dx.doi.org/10.1007/978-94-017-1219-4_10.

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Ng, Hsien Han, and Jer-Ming Chen. "A Pilot-Study of Chinese Wind and String Instrumentalists’ Intonation." In Current Research in Systematic Musicology, 113–23. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74039-9_12.

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Jovićević, Jasna. "The Pale Image of the Jazz Female Instrumentalists in Southeastern Europe." In The Routledge Companion to Jazz and Gender, 448–57. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003081876-40.

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Sataloff, Robert Thayer, Mary J. Hawkshaw, and Johnathan Brandon Sataloff. "Medical Disorders and Treatments in Professional Voice Users and Wind Instrumentalists." In Dentofacial Anomalies, 105–32. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-69109-7_7.

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Tapp, Christian. "Instrumentalismus." In An den Grenzen des Endlichen, 169–80. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-29654-3_8.

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Rowbottom, Darrell P. "Instrumentalism." In The Routledge Handbook of Scientific Realism, 84–95. New York : Routledge, 2017. | Series: Routledge handbooks in philosophy: Routledge, 2017. http://dx.doi.org/10.4324/9780203712498-8.

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"Instrumentalists." In From Boulanger to Stockhausen, 117–52. Boydell and Brewer, 2013. http://dx.doi.org/10.1515/9781580468176-006.

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Owens, Thomas. "Other Instrumentalists." In Bebop, 192–204. Oxford University Press, 1996. http://dx.doi.org/10.1093/acprof:oso/9780195106510.003.0009.

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Platt, Heather. "Other Instrumentalists." In Brahms in Context, 215–26. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781316681374.022.

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Conference papers on the topic "Instrumentalists"

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Nedelcut, Sebastian Dan. "STUDENT INSTRUMENTALISTS� ANXIETY LEVELS, LIFESTYLE AND SYMPTOMS OF IRRITABLE BOWEL DISEASE." In 4th SGEM International Multidisciplinary Scientific Conferences on SOCIAL SCIENCES and ARTS Proceedings. STEF92 Technology, 2017. http://dx.doi.org/10.5593/sgemsocial2017/33/s12.095.

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Hughes, Robert. "Music Literacy at the Secondary Level: Studying Direct Instruction Intervention With High School Instrumentalists." In 2019 AERA Annual Meeting. Washington DC: AERA, 2019. http://dx.doi.org/10.3102/1430595.

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Synofzik, Thomas. "„Würde Sie’s zu sehr ermüden zu begleiten?“ – Clara Schumann als Lied- und Kammermusikpartnerin." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.82.

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80 percent of Clara Schumann‘s playbills in her complete collection of concert programmes (Robert-Schumann-Haus Zwickau) include vocal participation of solo singers, choirs or actors. The question is to which extent Clara Schumann used to accompany these vocal contributions herself on the piano. Only rarely are other accompanists named on the concert playbills, but evidence from concert reviews suggests that these vocal contributions normally served as rests for the solo pianist. Sometimes separate accompanists are named in the concert reviews. In orchestral concerts it was usually the conductor who accompanied solo songs on the piano, not the solo pianist. The Popular Concerts in St. James’s Hall in London were chamber concerts, which had a regular accompanist who was labelled as „conductor“ though there was no orchestra participating. These accompanists sometimes also performed with instrumentalists, e. g. basso continuo music from the 18th century or piano reductions of orchestral concerts.
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Jakupi, Syzana. "PIANO WORKS BY COMPOSER RAUF DHOMI (ANALYSIS FOR INTERPRETATION)." In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.14.

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The primary purpose of the paper is to present research analysis which aims to recognize the art of Kosovan piano music through analysis for interpretation as a relatively new discipline born in the late �90s that today in the world counts numerous publications. The qualitative-descriptive methodology is used in this paper. It entails interpreting and analyzing music, with a focus on Rauf Dhomi�s Opus �70 Pieces for Piano�. Many European countries have previously experienced the splendor and enchantment of the Renaissance, but Kosovo is currently undergoing a true Renaissance following its independence in 2008. The general characteristics of the Kosovan Renaissance have been reflected in less than twenty years, with a clean impetus and energy that has built through time in the entire nation, includingall aspects of life, and thus the sphere of art, and the magical world of music. Despite the challenges that the Kosovan artist has faced in the past, he still has the ability to overlook themin favor of the beautiful and magical. That is why the Renaissance�s magic lives on now, granting many artists in the arts, such as instrumentalists, vocalists, and composers, a well- deserved place in Europe�s and the world�s most prominent stages.
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Pavelková, Isabella, and Barbora Saitlová. "Instrumentalita učení z hlediska budoucích cílů." In 19th Annual Conference of CERA (Czech Educational Research Association). 19. výroční konference České asociace pedagogického výzkumu. Masaryk University Press, 2011. http://dx.doi.org/10.5817/pdf.p210-capv-2012-43.

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Tollaksen, Jeff, and John E. Gray. "Memory, contextuality, instrumentality, and quantum mechanics." In SPIE Defense and Security Symposium, edited by Eric J. Donkor, Andrew R. Pirich, and Howard E. Brandt. SPIE, 2008. http://dx.doi.org/10.1117/12.778100.

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Robinson, Alexander. "Calibrating Agencies in a Territoy of Instrumentality." In ACADIA 2014: Design Agency. ACADIA, 2014. http://dx.doi.org/10.52842/conf.acadia.2014.143.

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Shamsudin, Abdul Shukor, Ayotunde Adetola Adelaja, and Taofeek Adejare Owoseni. "Technology and Education: A Deterministic and Instrumentalist Philosophical Approach." In Business Innovation and Engineering Conference 2020 (BIEC 2020). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/aebmr.k.210727.037.

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Peteranetz, Markeya S., Abraham E. Flanigan, Duane F. Shell, and Leen-Kiat Soh. "Perceived Instrumentality and Career Aspirations in CS1 Courses." In ICER '16: International Computing Education Research Conference. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2960310.2960320.

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Kawtrakul, Asanee, Patrick Saint-Dizier, Mukda Suktarachan, Bali Ranaivo-Malancon, Pek Kuan Ng, Achla Raina, Sudeshna Sarkar, Alda Mari, Sina Zarriess, and Elixabete Murguia. "A multilingual analysis of the notion of instrumentality." In the Third ACL-SIGSEM Workshop. Morristown, NJ, USA: Association for Computational Linguistics, 2006. http://dx.doi.org/10.3115/1621431.1621439.

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Reports on the topic "Instrumentalists"

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Philip, Raisa. Mothers vs Children: Co-opting Child Rights as Gender Backlash. Institute of Development Studies, April 2023. http://dx.doi.org/10.19088/backlash.2023.003.

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This paper examines how progressive rights frameworks are instrumentalised as gender backlash tools to suppress feminist activism. I engage with the events following Rehana Fathima’s political act ‘Body and Politics’ which faced strong backlash in the form of censure through law, and discourse capture. Using a conceptual framework I developed, I explore how various backlash concepts – co-option, censure, and discourse capture - discursively interact with each other, and identify factors that facilitate cohesion across backlash actors. I argue that in the Rehana Fathima case, the rights framework facilitated the agendas of powerful actors and not the constituents it was framed to serve. I conclude by making a case for political allyship across movements and among actors who are working on counter backlash strategies; and for deeper engagement of feminist development agendas with the sexuality of women.
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Bachtiar, Hasnan, Kainat Shakil, and Chloe Smith. Use of Informal Sharia Law for Civilizational Populist Mobilization in the 2024 Indonesian Elections. European Center for Populism Studies (ECPS), April 2024. http://dx.doi.org/10.55271/pp0035.

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The Defenders Front of Islam or the Front Pembela Islam (FPI) is an Islamist civilizational populist movement in Indonesia. Its religious and political blueprints have been a challenge to the elites in power. In 2017 and 2019, it was involved in the contest of electoral politics to fight against the elites by implementing the populist politics that tends to undermine the democratic process. As a result, it was banned in 2020 but re-established a year later. In 2024 elections, it supports for Anies Baswedan-Muhaimin Iskandar to compete against Prabowo Subianto-Gibran Rakabuming and Ganjar Pranowo-Mahfud MD. The findings suggest that by applying the Islamist civilizational populism, the FPI instrumentalizes the informal religious law to support its political mobilization. It emphasizes the legal-centric perspective of “sharia,” which gives the FPI’s activists and its wider audience only one imperative option to solve the problem: join in the populism. We arguably state that the informal religious law can contribute to the process of Islamist civilizational populist mobilization.
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3

Yilmaz, Ihsan, and Nicholas Morieson. Religious populism in Israel: The case of Shas. European Center for Populism Studies (ECPS), March 2022. http://dx.doi.org/10.55271/pp0011.

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Since the 1990s, populism has become increasingly prevalent in Israeli politics. While scholars and commentators have often focused on the populist rhetoric used by Benjamin Netanyahu, his is hardly the only manifestation of populism within Israel. For example, Shas, a right-wing populist party which seeks to represent Sephardic and Haredi interests within Israel, emerged in the 1980s and swiftly became the third largest party in the country, a position it has maintained since the mid 1990s. Shas is unique insofar as it merges religion, populism, and Sephardic and Haredi Jewish identity and culture. Indeed, Shas is not merely a political party, but a religious movement with its own schools and religious network, and it possesses both secular and religious leaders. In this article, we examine the religious populism of Shas and investigate both the manner in which the party constructs Israeli national identity and the rhetoric used by its secular and religious leadership to generate demand for the party’s religious and populist solutions to Israel’s social and economic problems. We show how the party instrumentalizes Sephardic ethnicity and culture and Haredi religious identity, belief, and practice, by first highlighting the relative disadvantages experienced by these communities and positing that Israeli “elites” are the cause of this disadvantaged position. We also show how Shas elevates Sephardic and Haredi identity above all others and claims that the party will restore Sephardic culture to its rightful and privileged place in Israel.
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4

Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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