Relevant bibliographies by topics / Musicians

Academic literature on the topic 'Musicians'

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

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Journal articles on the topic "Musicians"

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Grašytė, Toma. "Traditional Musician in the Nowadays Lithuanian Village or Small Town’s Community." Tautosakos darbai 52 (December 30, 2016): 213–30. http://dx.doi.org/10.51554/td.2016.28874.

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Folk musicians belonging to the older generations and playing various instruments have been subject to rather exhaustive research in Lithuania since the end of the 20th century until the present. Various aspects of their music making, including the repertoire, changes in the style of their performance, the musician’s image, role and place in the community have also received considerable attention. However, traditional musicians belonging to the younger generation and their music making have scarcely fallen into the focus of study so far. The modern ethnomusicologists researching and appreciating the traditional music making devote considerable attention to the perspectives of the musicians and their surrounding community. Such a two-fold research, taking into consideration both the musician’s and the community’s approach, enables evaluating the general situation of the traditional instrumental and vocal instrumental music making in the community. By comparing the expressed views of the Lithuanian traditional musicians belonging to the younger generation and the perspectives of the surrounding community, the author of the article attempts establishing the kind of musicians that is in demand in the Lithuanian villages and small towns of the end of the 20th – beginning of the 21st century. The author of the article combines qualitative research (the in-depth partly structured multiple interviews) with documentary and biographical methods.According to the analysis, not only the roles of the traditional musician and the community, but also their mutual relationship has suffered considerable shifts in the nowadays culture. The functions of the musician as bearer, promoter and reviver of the tradition have become much more prominent. By adapting to the altering wedding traditions, the musician does not decline performing not only the functions of the former main participants of the wedding, but also those of the presenter of the whole event. The individual musical faculties and skills do not bear such importance in the eyes of the community members, as they do to the musicians themselves. The community mostly appreciates the universal capacities of the traditional musician, also ascribing importance to his tight relationship with the local traditions. The latter quality is important to the musicians as well; it includes the inherent feeling of the local music and its appreciation (from instrumentation and familiarity with the traditional local repertoire, to the live music making, and to the knowledge of customs and rituals, which are particularly important during various festive events and weddings). Since the tradition of the ritual communal singing is increasingly in decline, the capacity of the musicians to sing well and to start the appropriate songs as means of preserving and supporting this tradition is especially meaningful. It is safe to maintain that traditional musicians are currently people sensitively reacting to the changes in the traditional musical culture and actively participating in the local musical life until nowadays. To the contrary, rejection of the musical innovations renders the traditional musician incapable of competing with the requirements of the modern musical market. In such case, the musician may even have to stop playing and surrender his place to the professional or semi-professional wedding musicians with virtually no knowledge of the local musical customs, or even to the sound recordings.
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King, Caleb J., Anya E. Shorey, Kelly L. Whiteford, and Christian E. Stilp. "Testing the role of primary musical instrument on context effects in music perception." Journal of the Acoustical Society of America 152, no. 4 (October 2022): A132. http://dx.doi.org/10.1121/10.0015790.

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Musicians display numerous perceptual benefits versus nonmusicians, such as better pitch and melody perception (the “musician advantage”). Recently, Shorey et al. (2021 ASA) investigated whether this musician advantage extended to spectral contrast effects (SCEs; categorization shifts produced by acoustic properties of surrounding sounds) in musical instrument recognition. Musicians and nonmusicians listened to a context sound (filtered string quartet passage highlighting frequencies of the horn or saxophone), then categorized a target sound (tone from a six-step series varying from horn to saxophone). Although musicians displayed superior pitch discrimination, their SCEs did not differ from those of nonmusicians. Importantly, separate research has reported that a musician’s instrument of training heavily influences musical perception, potentially improving frequency discrimination and rhythm perception/production. However, in the Shorey et al. study, musicians were recruited without respect to their primary instrument. This follow-up study uses the same methodology as Shorey et al. but recruits only musicians who play horn or saxophone (the instruments used as target sounds) as their primary instrument. It is predicted that horn and saxophone players will display larger SCEs than nonmusicians due to their intimate familiarity with the instrument timbres. Preliminary data are trending in the predicted direction; full results will be discussed.
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Nörholm Lundin, Anna. "Maestro! Yrkesmusikers sociala praktik, relativa framgång och habitus." Praxeologi – Et kritisk refleksivt blikk på sosiale praktikker 1 (January 1, 2019): e1566. http://dx.doi.org/10.15845/praxeologi.v1i0.1566.

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Maestro! The social practice, relative success and habitus of professional musiciansIn art music the Maestro is an important figure. The Maestro is an outstanding musician and teacher at one of the prestigious music colleges in Sweden. To be admitted as a student of a Maestro is to be granted access to the atrium of music. However, this is no guarantee of actually succeeding as a musician. Who is the Maestro? Which social practice is the Maestro part of, and which social practice is he/she maintaining? Who achieves a position as an outstanding musician, and what is required to hold such a position? The empirical material consists of three in-depth interviews with central musicians and teachers at the prestigious music colleges, which is used to reconstruct their positions and dispositions. The relative success of the musicians is understood in relation to the concept of habitus and in relation to a profession in transformation. Keywords: Maestro, musicians, social practice, habitus, relative success
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Gafurova, Shokhida, and Munavara Abdullaeva. "How Important Is Physical Education For The State Conservatory Of Uzbekistan Students’ Successful Performing Activities." Eurasian music science journal, no. 2 (December 12, 2021): 44–53. http://dx.doi.org/10.52847/eamsj/vol_2021_issue_2/68.

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Every musician’s profession assumes regular hours-long practices, long-term music performance training and concert activities. The music profession is hard work that involves continuous rehearsals, followed by performances at concerts. This negatively affects the state of their health. This becomes the reason for the manifestation of occupational diseases and the termination of performing activities. Therefore, the formation of the physical well-being of a musician seems to be extremely important for successful and long-term performing activity. Consequently, it is relevant to introduce various types of physical culture into the daily routine of every musician starting from the early years and further into higher education. This paper gives insights into the issues of sport and physical education at the state conservatory of Uzbekistan. Today musicians become well informed through the internet, publications, seminars, and books on how sport can have a positive influence on musician’s performance. The paper examines how to determine whether moderate-intensity activities can assist in playing an instrument and can be incorporated into the curriculum of the musical education for the benefit of the students- musicians.
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Son, Han-Na, and Seong-Joon Limb. "Indie Musicians Support System of the Naver Musician League." Dongguk Business Research Institute 44, no. 2 (August 30, 2022): 25–39. http://dx.doi.org/10.55685/bcr.2022.44.2.25.

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Despite the importance of indie music and musicians required in the music industry ecosystem, much research has not been conducted on the practical support method for fostering indie musicians. This study introduces the operation method of the 'Musician League' platform created to support indie musicians by the portal site Naver, and analyzes the cases of indie musicians who have grown up through it, in order to see if the same method as the Musician League could be a practical alternative for fostering indie musicians. Based on literature research and interviews with related parties, this study has concluded that Musician League indeed led indie musicians to the field and supported their success by providing various realistically necessary support such as music sharing and open markets, as well as supporting album production and distribution, and various exposure opportunities. This study is the first study to analyze the Naver Musicians League in-depth, and will help to develop effective support methods for fostering indie musicians.
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Jabusch, Hans-Christian, and Eckart Altenmüller. "Anxiety as an Aggravating Factor During Onset of Focal Dystonia in Musicians." Medical Problems of Performing Artists 19, no. 2 (June 1, 2004): 75–81. http://dx.doi.org/10.21091/mppa.2004.2012.

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Focal dystonia in musicians is a task-specific movement disorder that in many cases leads to the end of musical careers. In a recent study, perfectionism and anxious traits were found to be elevated in musicians with dystonia. Dynamics of different anxiety disorders and their possible role during the development of musician’s dystonia still are unclear. Dystonic musicians (n = 20) were investigated by means of self-estimation and compared with healthy musicians (n = 30) and musicians with chronic pain syndromes (n = 20). Participants completed a questionnaire focusing on different anxiety disorders, particularly with regard to their dynamics. Musicians with focal dystonia more often reported social phobia and specific phobias than healthy musicians. In the retrospective analysis, these differences already were present before onset of dystonia. Musicians who later developed focal dystonia more often suffered from specific phobias than musicians who later developed chronic pain. Musicians with chronic pain more often reported free-floating anxiety compared with healthy musicians. In the subscale stage fright, no significant differences were observed between the groups. The pattern of specific phobias and social phobia were reported to have been preexisting before the onset of dystonia. Anxiety and perfectionism may be aggravating factors during the development of musician’s dystonia.
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Rosset-Llobet, Jaume, Álvaro Pascual-Leone, and Sílvia Fàbregas-Molas. "Role of Female Reproductive Hormones in Musicians' Dystonia." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 156–58. http://dx.doi.org/10.21091/mppa.2012.3027.

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Musicians’ dystonia is an occupational focal dystonia affecting men more often than women. METHODS: We identified all patients presenting with musicians’ dystonia and prospectively collected data on reproductive and menstrual history from the women with musician’s dystonia and female musicians without dystonia. RESULTS: 149 men and 23 women (13.37%) with musician’s dystonia where identified. We did not identify any effect of contraceptive hormones, pregnancy, or menstrual phases on dystonia symptoms, but as compared with women without dystonia, those with musician’s dystonia reported oligomenorrhea and menometrorrhagia significantly less frequently. CONCLUSIONS: Our data reinforce the relation between sex hormones variations and musicians’ dystonia. This link should be further explored to identify mechanisms and assess whether certain hormonal interventions might protect from the manifestation of dystonia.
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Altenmüller, Eckart, and Hans-Christian Jabusch. "Focal Dystonia in Musicians: Phenomenology, Pathophysiology, Triggering Factors, and Treatment." Medical Problems of Performing Artists 25, no. 1 (March 1, 2010): 3–9. http://dx.doi.org/10.21091/mppa.2010.1002.

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Musician’s dystonia is a task-specific movement disorder that manifests itself as a loss of voluntary motor control in extensively trained movements. Approximately 1% of all professional musicians develop musician’s dystonia, and in many cases, the disorder terminates the careers of affected musicians. The pathophysiology of the disorder is not completely clarified. Findings include 1) reduced inhibition at different levels of the central nervous system, 2) maladaptive plasticity and altered sensory perception, and 3) alterations in sensorimotor integration. Epidemiological data demonstrate a higher risk for those musicians who play instruments requiring maximal fine-motor skills. For instruments where workload differs across hands, focal dystonia appears more often in the more intensely used hand. In psychological studies, musicians with dystonia have more anxiety and perfectionist tendencies than healthy musicians. These findings strengthen the assumption that behavioral factors may be involved in the etiology of musician’s dystonia. Preliminary findings also suggest a genetic contribution to focal task-specific dystonia with phenotypic variations including musician’s dystonia. Treatment options include pharmacological interventions, such as trihexyphenidyl or botulinum toxin-A, as well as retraining programs and ergonomic changes in the instrument. Patient-tailored treatment strategies may significantly improve the situation of musicians with focal dystonia. Positive results after retraining and unmonitored technical exercises underline the benefit of an active involvement of patients in the treatment process. Only a minority of musicians, however, return to normal motor control using the currently available therapies.
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Weijkamp, Janne, and Makiko Sadakata. "Attention to affective audio-visual information: Comparison between musicians and non-musicians." Psychology of Music 45, no. 2 (July 7, 2016): 204–15. http://dx.doi.org/10.1177/0305735616654216.

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Individuals with more musical training repeatedly demonstrate enhanced auditory perception abilities. The current study examined how these enhanced auditory skills interact with attention to affective audio-visual stimuli. A total of 16 participants with more than 5 years of musical training (musician group) and 16 participants with less than 2 years of musical training (non-musician group) took part in a version of the audio-visual emotional Stroop test, using happy, neutral, and sad emotions. Participants were presented with congruent and incongruent combinations of face and voice stimuli while judging the emotion of either the face or the voice. As predicted, musicians were less susceptible to interference from visual information on auditory emotion judgments than non-musicians, as evidenced by musicians being more accurate when judging auditory emotions when presented with congruent and incongruent visual information. Musicians were also more accurate than non-musicians at identifying visual emotions when presented with concurrent auditory information. Thus, musicians were less influenced by congruent/incongruent information in a non-target modality compared to non-musicians. The results suggest that musical training influences audio-visual information processing.
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Nørholm Lundin, Anna. "Att bli och att vara framgångsrik musiker – socialisation och sortering genom livet." Educare - vetenskapliga skrifter, no. 1 (March 20, 2020): 82–108. http://dx.doi.org/10.24834/educare.2020.1.5.

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This article concerns learning, socialization and social sorting among successful musicians. The aim is to understand and problematize not only what it means to become a classical musician but also what it entails to be a successful classical musician. In what ways are musicians socialized through life? What approaches are formed among musicians, and what is the meaning of these when it comes to performance of work? Are their specific arenas and rituals of particular importance, when it comes to socializing and sorting among musicians? Interviews and documents about twelve musicians have been analyzed with the aid of Bourdieusian concepts, for example, practical sense and habitus, and research on elitist practices within music, arts and sports. The results indicate that there is a typical and similar career path for successful musicians, where young musicians are socialized into considering their careers in music as natural and given. The musicians are recognized as talented or wonder children at an early age, and they are accepted as students of a master teacher. Their careers are built by merits, such as a spectacular debut leading to an international career. These career steps function as both merits and as an opening of doors. Further, they contribute by strengthening the musicians´ identities and their roles as successful musicians and role models within the field.
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Dissertations / Theses on the topic "Musicians"

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Pang, Ming-wai, and 彭明慧. "Tonal and segmental perception in native Cantonese-speaking musicians, amateur musicians and non-musicians." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/206684.

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Tone matching, judgment and segmental judgment tasks conducted in silent reading and listening conditions are devised to test the hypothesis that musical training improves tone and segmental (onset, rime) perception in a tone language, Cantonese, in native Cantonese-speaking individuals. Four-word sequences (in which two words are primes and two are targets, or three words are primes and one is target) were presented to three groups of participants: professional musicians, amateur musicians and non-musicians in the silent reading condition, whereas four sound stimuli of Chinese characters were presented in the listening condition, and their accuracy and response time were recorded. Musicians, both professional and amateur, performed significantly better in tone and segmental perception than their musically naïve counterparts. Moreover, the response time exhibited a contrastive pattern in the two conditions: musicians tended to respond faster in the silent reading condition, but took a longer time in the listening condition. These results clearly demonstrate that musical training facilitated the perceptual processing of Cantonese tone and segmental phonemes by native Cantonese- speakers. Music-to-language transfer effects are highlighted and the non-significant differences exhibited between professional musicians and amateur musicians in five out of six tasks show that musical training need not be pursued to an advanced level for participants to gain perceptual benefits. The results shed light on possible forms of remedial programme development and interventions for children with language disorders such as dyslexia.
published_or_final_version
Linguistics
Master
Master of Philosophy
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Renfrew, Mary Claire. "Exploring the 'I' in musician : investigating musical identities of professional orchestral musicians." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/29570.

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The lived experiences of professional orchestral musicians are under-­‐researched by scholars in both music and psychology, who are interested in the world of the professional orchestra and the careers of classical musicians. Framed within a Social Constructionist paradigm, the research in this thesis is concerned with investigating the subjective meanings and individual experiences of a group of ten classical orchestral musicians. Interpretative Phenomenological Analysis was the methodological framework chosen to design and analyse a set of open-­‐ ended interviews with the musicians, which allowed reflexivity and flexibility throughout the research process. Three superordinate themes were identified from a close reading and IPA analysis of the interview data: ‘Musical Foundations’, ‘Struggle: “The Never Ending Quest”’ and ‘Thank You For The Music’. ‘Musical Foundations’ examines the process of musical identity construction for the ten participants, from its early beginnings in childhood, through adolescence and their time in the professional orchestra. Different facets of musical identity construction are outlined and becoming an orchestral musician is viewed as essentially a social process shaped by social interactions, building on a sense of possessing certain ‘innate’ characteristics. ‘Struggle: ‘The Never Ending Quest”’ illustrates the challenges the musicians encountered within the profession and the impact that being a professional orchestral musician had on other aspects of their lives (e.g. personal and social). The fear and conflict the ten musicians experienced is outlined and how the musicians coped and ‘survived’ within the professional orchestra is demonstrated. In addition, the central importance of the identity of ‘orchestral musician’ within the participants’ lives is illustrated. The last theme, ‘Thank You For The Music’ outlines why the musicians continued within the profession despite the struggles summarised by the previous theme. This chapter highlights the autonomy and control the musicians felt they gained within their orchestras and the physiological and emotional connections they experienced with both the profession and classic music itself. Common to all three superordinate themes is their reported power struggle between the musicians and the orchestra, and between the individual and the collective. Another common issue was how central the identity of ‘orchestral musician’ was for all participants, impacting all aspects of their lives. The professional musicians constructed, negotiated and maintained their musical identities in accordance with both their own expectations and those of the classical music genre itself. The research in this thesis raises awareness of the importance of the orchestral musician identity in the musicians’ lives and how an understanding of this can help gain an insight into other aspects of the participants’ lives. Recommendations are made for further research regarding: the lived experiences of classical music students, investigation of current teaching practices in conservatoires and further exploration of the professional structures within an orchestra.
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Hakvoort, Laurien G. "Piano-improvisation skills of musicians versus non-musicians : implications for music therapy." Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/2265.

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The purpose of this study was to examine the improvisation skills of musicians and non-musicians. Fifteen musicians and 13 non-musicians completed a pre- and post-performance questionnaire and played a free improvisation on the piano. The free improvisations were rated by three independent observers using the Music Improvisation Rating scale, and the responses on the questionnaires were tabulated. Results showed no difference between musicians and non-musicians for duration, expectation, self-reported interaction and satisfaction. There was, however, a statistically significant difference for judged interactions between the two groups. This may suggest that a client should not be excluded from music therapy because of lack of musical skills. The therapeutic and musical interactions, however, have to be handled and interpreted differently by the therapist. Working with musically skilled clients may require different interventions from working with musically naive clients.
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Grieshaber, Kate. "Polymetric performance by musicians /." Thesis, Connect to this title online; UW restricted, 1990. http://hdl.handle.net/1773/11345.

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Robinson, Tim. "How popular musicians teach." Thesis, University of Sheffield, 2010. http://etheses.whiterose.ac.uk/1219/.

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The present study asks how musicians who have learned outside the classical tradition teach others to play. A group of eight instrumental teachers were studied, all of whom grew up playing ‘popular', vernacular styles of music. While most of them had at least some experience of being taught classical music, they spent their formative years committed to largely self-directed learning, acquiring the skills they needed in order to play the styles that appealed to them at the time: namely rock, blues, jazz or folk. The teachers were interviewed about their learning histories and their teaching practice, and were filmed teaching a total of eleven students. There was a wide range of instrumental teaching strategies in evidence, from the orthodox teaching of classical music to lessons based entirely on listening and copying. However, in exploring the relationship between how this group learned to play and how they teach others to play, it was evident that they were not ‘teaching as they were taught', nor were they necessarily re-creating their own ‘informal' learning practices. Rather they were creating their own idiosyncratic teaching strategies, drawing on those elements of their own learning histories which they valued, and supplementing these with aspects of musical learning which they felt they had missed out on; in short, they were attempting to teach as they would have wanted to be taught themselves. Their teaching practice, and their sense of identity, was strongly influenced both by the economic realities of trying to survive as musicians, and by the nature of their students, who were generally viewed as relatively unmotivated. The study addresses an under-researched area of music teaching, and the findings are relevant to course designers, syllabus consultants and instrumental teachers generally, as well as music education researchers, in particular those interested in popular music and informal learning.
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Tolmie, Diana Maree. "My Life as a Musician: Designing a Vocational Preparation Strand to Create Industry-Prepared Musicians." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/370346.

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For the last two decades, the discourse surrounding the education of the professional musician has increased as traditional forms of music employment become more competitive and the portfolio career has returned as an accepted mode of working for musicians. Criticism of the nineteenth-century conservatoire model, which in turn has led to the recommendation to embed an employability focus within degree programs that fosters the development of industry-prepared musicians. To date, however, there are few successful examples of this. This study investigates the design, development and delivery of the My Life as a Musician (MLaaM) vocational preparation strand of undergraduate courses that assist student musicians to prepare for their likely employment, both before and after graduation. The thesis makes an original contribution to higher education teaching and learning by documenting the processes involved in developing employability education within an undergraduate music curriculum. Data collection involved a suite of research methods based on a grounded theoretical approach that included autoethnography, practitioner action research, focus groups of 44 Queensland Conservatorium Griffith University (QCGU) students, and interviews with 12 faculty plus three Australian arts leaders, three Australian higher education leaders and three Australian music industry lecturers. Further to this, interviews with 15 South-East Queensland portfolio career musicians informed the design of a 75-question survey to which 261 Australian portfolio musicians responded. The findings revealed a shrinking and territorial music industry that has been affected by macro-environmental forces, an increased professional musician population, a lack of respect for the portfolio careerist, and cannibalistic employment practices. The musicians indicated that opportunities exist to provide formal and informal vocational preparation in the form of experiential learning for the acquisition of an extensive set of hard and soft skills that support career sustainability. However, the research revealed 11 barriers to the success of this employment education. These involved students’ romanticised career aspirations, varying degree approaches, and professional identity development from music student to student musician. In addition, the influence of a master-apprentice model largely subscribing to an art for art’s sake approach to career development, rather than acknowledging the realities of the changing profession, further affected students’ acceptance of formalised vocational learning. Combined with this qualitative and quantitative inquiry, an extensive literature review of the music industry, musician identity, career theory and educational practice has contributed to the development of a Conservatoire Student Lifecycle Model as the foundation of the MLaaM strand. Implications for the further development of these courses, ethical extracurricular programme activities, curriculum restructure and the call for industry reform are discussed. The results of this study may hold relevance for those wishing to instigate similar vocational preparation courses within undergraduate tertiary music programmes.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Schneider, Peter. "Source activity and tonotopic organization of the auditory cortex in musicians and non-musicians." [S.l.] : [s.n.], 2000. http://deposit.ddb.de/cgi-bin/dokserv?idn=961907436.

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Wood-Gaines, Adam Matthew. "Modelling expressive movement of musicians." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq24274.pdf.

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吳俊凱 and Chun Hoi Daniel Ng. "Original compositions for young musicians." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1993. http://hub.hku.hk/bib/B31212608.

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Bayton, Mavis. "How women become rock musicians." Thesis, University of Warwick, 1989. http://wrap.warwick.ac.uk/34719/.

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This thesis is about women rock musicians in the U.K. It is based on in-depth interviews with 36 female rock musicians in the 1980s. Firstly, it examines the relative absence of women in rock music-making and explains this in terms of gender socialisation and a number of social constraints operating on women. Secondly, it looks at those women who, despite all the obstacles, do become rock musicians. A number of variables are put forward which, it is suggested, have helped these women overcome gender constraints. These factors are conceptualised as "escape routes" into rock music-making. Thirdly, all-women bands are examined, and the individual careers of the women who constitute them. An ideal-type model is constructed of the stages of a female band's career. It is concluded that, compared to male bands, there are a whole set of factors which make it more difficult for women's bands to be set up and continue along the career path. These factors have the strongest effect in the early career stages. Lastly, some non-typical career patterns are investigated, and particularly the strategies developed by feminist musicians as alternatives to the mainstream commercial path.
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Books on the topic "Musicians"

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Phelan, Nancy. Charles Mackerras: A musician's musician. London: Gollancz, 1987.

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Strudwick, Leslie. Musicians. New York: Crabtree Pub. Co., 1998.

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Goldsworthy, Kaite. Musicians. Calgary: Weigl Educational Publishers, 2013.

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Roalf, Peggy. Musicians. New York: Hyperion Books for Children, 1993.

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Denis, Curti, and Losurdo Stefano, eds. Musicians. Milano: Idea Books, 1993.

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Johnstone, Michael. Musicians. London: Franklin Watts, 2007.

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T, Boisvert, and Durif Olivier, eds. Musiciens traditionnels d'en France =: Traditional musicians from France : Portraits-Contacts. Paris: Centre National d'Action Musicale, 1989.

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T, Boisvert, Durif Olivier, and CENAM (Center :. France), eds. Musiciens traditionnels d'en France: Portraits, contacts = Traditional musicians from France. Paris: CENAM, 1989.

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Clifford, Thompson, ed. World musicians. New York: H. W. Wilson Co., 1999.

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Ziegler, Robert. Great Musicians. London: Dorling Kindersley Limited, 2008.

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Book chapters on the topic "Musicians"

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Kluger, Nicolas, and Derk P. Bruynzeel. "Musicians." In Kanerva’s Occupational Dermatology, 1–6. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-40221-5_175-2.

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Hyry, H. "Musicians." In Handbook of Occupational Dermatology, 1015–17. Berlin, Heidelberg: Springer Berlin Heidelberg, 2000. http://dx.doi.org/10.1007/978-3-662-07677-4_157.

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Kluger, Nicolas, and Derk P. Bruynzeel. "Musicians." In Kanerva’s Occupational Dermatology, 2147–51. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-68617-2_175.

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Bruynzeel, Derk P. "Musicians." In Kanerva's Occupational Dermatology, 1581–83. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-02035-3_175.

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Tan, Qing Lun, Natalie Alexandra Tse, Syafiq Halid, Raghavendran Rajasekaran, Ming Guo, Wei Yang Wang, and Benjamin Yi Lim. "Musicians’ Responses." In Semionauts of Tradition, 205–23. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-1011-9_9.

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Bradshaw, John L. "Musicians’ dystonia." In Reflections of a Neuropsychologist, 189–91. Milton Park, Abingdon, Oxon ; New York, NY : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351060752-30.

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Agrò, Maurizio. "Scientist Musicians." In Music and Astronomy, 35–40. Cham: Springer Nature Switzerland, 2023. http://dx.doi.org/10.1007/978-3-031-41524-1_5.

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Dollman, Emily. "Musicians Offstage." In Opening Doors: Orchestras, Opera Companies and Community Engagement, 18–29. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003198512-2.

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Robinson, Peter. "Roy Fisher’s Musicians." In British Prose Poetry, 299–315. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77863-1_18.

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Urban, Michael. "New Orleans Musicians." In New Orleans Rhythm and Blues After Katrina, 17–41. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-56575-4_2.

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Conference papers on the topic "Musicians"

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Alexander, Jennifer A., Patrick C. M. Wong, and Ann R. Bradlow. "Lexical tone perception in musicians and non-musicians." In Interspeech 2005. ISCA: ISCA, 2005. http://dx.doi.org/10.21437/interspeech.2005-271.

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Aleshinskaya, Evgeniya. "Multilingualism in Russian Popular Music Discourse." In GLOCAL Conference on Mediterranean and European Linguistic Anthropology Linguistic Anthropology 2022. The GLOCAL Unit, SOAS University of London, 2023. http://dx.doi.org/10.47298/comela22.5-5.

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Drawing evidence from reviews on Russian musical websites, English-language song lyrics written by native Russian speakers, and multilingual performances in a popular TV show, the paper takes an anthropological approach to explore such forms of blending languages in popular music as mixed professional jargon, a localized variety of global English, and a new mode of interactivity – mixing languages and music(s) as a form of expressing meanings. The data obtained through discourse analysis were supplemented by online interviews with famous Russian musicians available on internet sources, quasi-ethnographic interviews with professional musicians, and a qualitative analysis of audience’s comments on the language choice and meaning of the songs. In this study, multilingualism is viewed as a component of the Russian musician’s linguistic personality. Multilingual practices in popular music reveal such characteristics of the musician’s linguistic personality as professionalism, creativity, commitment to authenticity, global aspirations, and local attachment.
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Agres, Kat, Ting Yuan Tay, and Marcus Pearce. "Comparing Musicians and Non-musicians’ Expectations in Music and Vision." In AM '22: AudioMostly 2022. New York, NY, USA: ACM, 2022. http://dx.doi.org/10.1145/3561212.3561251.

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Gomes, Cláudio, Josue Da Silva, Marco Leal, and Thiago Nascimento. "3A: mAchine learning Algorithm Applied to emotions in melodies." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2019. http://dx.doi.org/10.5753/sbcm.2019.10450.

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At every moment, innumerable emotions can indicate and provide questions about daily attitudes. These emotions can interfere or stimulate different goals. Whether in school, home or social life, the environment increases the itinerant part of the process of attitudes. The musician is also passive of these emotions and incorporates them into his compositions for various reasons. Thus, the musical composition has innumerable sources, for example, academic formation, experiences, influences and perceptions of the musical scene. In this way, this work develops the mAchine learning Algorithm Applied to emotions in melodies (3A). The 3A recognizes the musician’s melodies in real time to generate accompaniment melody. As input, The 3A used MIDI data from a synthesizer to generate accompanying MIDI output or sound file by the programming language Chuck. Initially in this work, it is using the Gregorian modes for each intention of composition. In case, the musician changes the mode or tone, the 3A has an adaptation to continuing the musical sequence. Currently, The 3A uses artificial neural networks to predict and adapt melodies. It started from mathematical series for the formation of melodies that present interesting results for both mathematicians and musicians.
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Zhang, Jiaxuan, and Yu Sun. "An Intelligent System to Assist Piano Composition and Chords Generation using AI and Machine Learning." In 7th International Conference on Software Engineering and Applications (SOFEA 2021). Academy and Industry Research Collaboration Center (AIRCC), 2021. http://dx.doi.org/10.5121/csit.2021.111615.

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As a musician and producer, I’ve always struggled with finding chords when I first started writing music [5]. It sometimes goes to the extent of me forgetting my melody because I take so long trying to figure out the chords. So I came up with an idea for this app, that will help amateur and beginner musicians save time and provide chord suggestions to them as a booster to start writing songs [6]. It features a recording or a midi input feature, then the app will carefully analyze the given melody and give a selection of the best chord progressions using intelligent AI. As an output, it is able to present it as guitar chords, piano chords, and ukulele chords, enabling more different musicians to use this app.
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Seznec, Yann. "Robots for Distant Musicians." In DIS '24: Designing Interactive Systems Conference. New York, NY, USA: ACM, 2024. http://dx.doi.org/10.1145/3656156.3665433.

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Sheng-Fu Liang, Tsung-Hao Hsieh, Wei-Hong Chen, and Kuei-Ju Lin. "Classification of EEG signals from musicians and non-musicians by neural networks." In 2011 9th World Congress on Intelligent Control and Automation (WCICA 2011). IEEE, 2011. http://dx.doi.org/10.1109/wcica.2011.5970639.

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R. Prado León, Lilia, and John A. Rey Galindo. "Ergonomics and Design for Musicians." In Applied Human Factors and Ergonomics Conference. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001320.

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This research aimed to identify the potential problems or symptoms related to musculoskeletal disorders in a music students’ population, as well as the risk factors, musicians’ perceptions about the risks in their activities, ailments suffered, music practice habits, and the instruments and objects with which they interact. We carried out a comparative cross-sectional study. We used a questionnaire with 31 multiple choice and open questions. According to the results, the percentage of injuries in this research is 14%; which is less than what Shields and Dockrell (2000) found in similar population. The back and the neck are the areas, most affected by musculoskeletal medical conditions - 60 % of music students report problems in these areas, while 36% of the population is affected in their wrists and shoulders. Surprisingly, 59.1 % answered that their activities are as risky as other professions. 64% of subjects don’t perceive a need for auxiliary objects. , Based on this finding, we identify four routes for design and ergonomics for musicians.
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Ribeiro, Estela, and Carlos Eduardo Thomaz. "A multivariate statistical analysis of EEG signals for differentiation of musicians and non-musicians." In XV Encontro Nacional de Inteligência Artificial e Computacional. Sociedade Brasileira de Computação - SBC, 2018. http://dx.doi.org/10.5753/eniac.2018.4442.

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It is possible to reveal whether a subject received musical training through the neural activation patterns induced in response to music listening. We are particularly interested in analyzing the brain data on a global level, considering its activity registered in electroencephalogram electrodes signals. Our experiments results, with 13 musicians and 12 non-musicians who listened the song Hungarian Dance No 5 from Johannes Brahms, have shown that is possible to differentiate musicians and non-musicians with high classification accuracy (88%). Given this multivariate statistical framework, it has also been possible to highlight the most expressive and discriminant changes in the participants brain according to the acoustic features extracted from the audio.
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Han, Yueqiao, Martijn Goudbeek, Maria Mos, and Marc Swerts. "Mandarin Tone Identification in Musicians and Non-musicians: Effects of Modality and Speaking Style." In TAL2018, Sixth International Symposium on Tonal Aspects of Languages. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/tal.2018-24.

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Reports on the topic "Musicians"

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Goldin, Claudia, and Cecilia Rouse. Orchestrating Impartiality: The Impact of "Blind" Auditions on Female Musicians. Cambridge, MA: National Bureau of Economic Research, January 1997. http://dx.doi.org/10.3386/w5903.

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Sokolowski, Susan L., and Brittany Lang. Designing a Thoracic Compression and Posture Correction Device for Brass Musicians with Pharyngoceles: A Teaching Opportunity. Ames: Iowa State University, Digital Repository, 2017. http://dx.doi.org/10.31274/itaa_proceedings-180814-294.

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Білоус, О. С. Український фольклор як засіб морально-естетичного становлення особистості школяра. ПДПУ ім. К. Д. Ушинського, 2002. http://dx.doi.org/10.31812/123456789/3317.

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The article deals with the meaning of folklore as the means of a moral-aesthetic making of a pupil’s personality. The author’s conclusions are based on the opinions of famous pedagogues and musicians. The curriculum in Music analysis, the recommendations concerning the broadening of a used repertoire of a folk music creative work in the practice of a compulsory school at the expense of introduction of the material of an folk creative work are given.
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Cai, Wenjie, and Hwan-Ching Tai. String Theories: Chemical Secrets of Italian Violins and Chinese Guqins. AsiaChem Magazine, November 2020. http://dx.doi.org/10.51167/acm00006.

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The most valuable musical instruments in the world are 17-18th century violins from Cremona, Italy (made by Stradivari and Guarneri), and Chinese guqins (7-string zithers) from the 8-13th century. Today, musicians still prefer these antique instruments for their superior acoustic qualities that cannot be reproduced by later makers. Over the centuries, many theories have been proposed to explain the unique playing properties of famous violins and guqins, but most are based on conjectures rather than factual evidence.
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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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Keogh, Brendan, Dan Golding, and Taylor Hardwick. Australian Music and Games 2023 Benchmark. Queensland University of Technology and Swinburne University of Technology, 2023. http://dx.doi.org/10.5204/rep.eprints.243139.

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Digital games are a global cultural force, of which music is a foundational aspect. Music is crucial for digital games to develop atmosphere, convey narratives, and frame player interactions. At the same time, digital games provide musicians exciting new opportunities to experiment with dynamic, adaptive, and non-linear music structures. However, writing, producing, licensing, and implementing music for digital games also poses new challenges to existing screen music practices and business models. This benchmark is the first ever investigation into the scope and scale of Australia’s game music sector. It reveals a great diversity of working arrangements, career pathways, and skill sets among game music workers. It exposes entrenched and emerging challenges facing the field that require a rethinking of conventional approaches, and identifies new opportunities for Australian game music to flourish and grow.
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Pedersen, Gjertrud. Symphonies Reframed. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.481294.

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Symphonies Reframed recreates symphonies as chamber music. The project aims to capture the features that are unique for chamber music, at the juncture between the “soloistic small” and the “orchestral large”. A new ensemble model, the “triharmonic ensemble” with 7-9 musicians, has been created to serve this purpose. By choosing this size range, we are looking to facilitate group interplay without the need of a conductor. We also want to facilitate a richness of sound colours by involving piano, strings and winds. The exact combination of instruments is chosen in accordance with the features of the original score. The ensemble setup may take two forms: nonet with piano, wind quartet and string quartet (with double bass) or septet with piano, wind trio and string trio. As a group, these instruments have a rich tonal range with continuous and partly overlapping registers. This paper will illuminate three core questions: What artistic features emerge when changing from large orchestral structures to mid-sized chamber groups? How do the performers reflect on their musical roles in the chamber ensemble? What educational value might the reframing unfold? Since its inception in 2014, the project has evolved to include works with vocal, choral and soloistic parts, as well as sonata literature. Ensembles of students and professors have rehearsed, interpreted and performed our transcriptions of works by Brahms, Schumann and Mozart. We have also carried out interviews and critical discussions with the students, on their experiences of the concrete projects and on their reflections on own learning processes in general. Chamber ensembles and orchestras are exponents of different original repertoire. The difference in artistic output thus hinges upon both ensemble structure and the composition at hand. Symphonies Reframed seeks to enable an assessment of the qualities that are specific to the performing corpus and not beholden to any particular piece of music. Our transcriptions have enabled comparisons and reflections, using original compositions as a reference point. Some of our ensemble musicians have had first-hand experience with performing the original works as well. Others have encountered the works for the first time through our productions. This has enabled a multi-angled approach to the three central themes of our research. This text is produced in 2018.
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Manhiça, Anésio, Alex Shankland, Kátia Taela, Euclides Gonçalves, Catija Maivasse, and Mariz Tadros. Alternative Expressions of Citizen Voices: The Protest Song and Popular Engagements with the Mozambican State. Institute of Development Studies (IDS), November 2020. http://dx.doi.org/10.19088/ids.2020.001.

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This study examines Mozambican popular music to investigate three questions: Are notions of empowerment and accountability present in popular music in Mozambique? If so, what can these existing notions of empowerment and accountability reveal about relations between citizens and state institutions in general and about citizen-led social and political action in particular? In what ways is popular music used to support citizen mobilisation in Mozambique? The discussion is based on an analysis of 46 protest songs, interviews with musicians, music producers and event promoters as well as field interviews and observations among audiences at selected popular music concerts and public workshops in Maputo city. Secondary data were drawn from radio broadcasts, digital media, and social networks. The songs analysed were widely played in the past two decades (1998–2018), a period in which three different presidents led the country. Our focus is on the protest song, conceived as those musical products that are concerned with public affairs, particularly public policy and how it affects citizens’ social, political and economic life, and the relationship between citizens and the state.
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Gratzke, Michael. ‘Confessions of a MILF (I chose being an artist over being a wife)’. Love and relationships in Viv Albertine’s memoirs. University of Dundee, February 2022. http://dx.doi.org/10.20933/100001240.

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The memoirs of (post-) punk musician Viv Albertine address the issue of choice or lack thereof in romantic and family relationships. They depict a world in which choice of romantic partners appears normal if often unsuccessful, whereas choice within family relationships is restricted. It is self-evident that one cannot choose one’s blood relatives. However, amplified by Albertine’s scepticism towards any social relationships, her two memoirs represent ‘negative choice’ (Eva Illouz) in heterosexual romantic relationships and the complex ways in which negative choice can change family dynamics. In her memoirs, Albertine presents loneliness as the opposite of love which aligns with her model of choice, as it is preferable to live a lonely life over being bound up in love relationships, romantic or familial, which are harmful to one’s wellbeing. This article demonstrates how the ethos of early punk is translated into an uncompromising process of life writing which presents itself as faithfulness towards the individual’s core need for self-realisation and self-expression against the backdrop of failing romantic and familial relationships, severe physical and mental health problems, a self-diagnosis of autism and a patriarchal society.
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Reducing the risk of hearing disorders among musicians. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, June 2015. http://dx.doi.org/10.26616/nioshpub2015184.

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