Incorporating flow into practice and performance

In the music profession, individuals often work under stress filled conditions. This is especially true for individuals making their living as performing musicians. Musical performance anxiety has been well documented in both students and professionals. For some, the experience may lead to a termination of what might otherwise remain a successful performing career. Humans are susceptible to anxiety and so the phenomenon of musical performance anxiety is not likely to disappear. Learning how to effectively deal with musical performance anxiety is paramount for those in the performing arts. Entering a state of flow, in which there is total absorption in an activity, allows for the possiblity of any ensuing anxiety to become facilitative, rather than debilitative. This article will discuss several characteristics of flow, as defined by Mihalyi Csikszentmihalyi, and provide practical applications for musical practice and performance in an attempt to counterbalance musical performance anxiety. Musicians will benefit from a closer examination of the elements of flow and means of incorporating these elements into practice and performance.     

The sampling continuum: musical aesthetics and ethics in the age of digital production

This article argues for a view of popular music production that better accounts for sampling than has historically been the case by viewing it as a continuum of activity. Weighing evidence from interviews with musical practitioners against the legal and industry frameworks, we illustrate, first, how sampling has been legally differentiated from other types of musical copying. Secondly we show that, despite this, comparable ethical codes exist within and across musical methods wherein sampling is part of the spectrum of activities. Thirdly, we discuss the ubiquity of digital technology within popular music production and the resultant closer relationship between sampling and other musical techniques moving onto, fourthly, how the sampling aesthetic has become integrated into musical practice in a manner insufficiently accounted for by its legal and industrial contexts. This ‘post-sampling’ reality places sampling and other musical techniques along a spectrum, in practical and ethical terms, and musicians would be better served by sampling being treated as part of the overall musical palette, allowing both scholars and the law to concentrate on ideologies of practice across the tools that musicians use rather than between different specific techniques.     

Fashion,the passage,the body

Studies on transnational cultures have shown that local, national identities are not necessarily subordinated to, or erased by, the globalizing forces of the economy. Rather, the local mediates transnational cultures as well as it is transformed by the crossing of cultural boundaries. Likewise, emerging interdisciplinary and cultural studies approaches to Latin(o) popular music examine the ways in which musical production, circulation and reception create cultural spaces that challenge hegemonic notions of national identity and discrete cultural boundaries. This article examines the figure of the Queen of Salsa, Celia Cruz, and the tensions among the multiple, transnational subjectivities that are constituted through her musical repertoire, her performances on stage, the aesthetics of her body, and her public statements in interviews. Having spanned more than sixty years of performances and recordings, Celia Cruz's diverse repertoire and musical selections have served as a performative locus for the negotiations of her Cubanness (her exile and national identity) and a hemispheric, Latin American identity that also includes the United States. Likewise, her construction of blackness as an Afro-Cuban woman transforms and is transformed by her collaborations with African-American musicians and singers, from jazz to hip-hop. Celia Cruz has also crossed racial and cultural boundaries by collaborating with Anglo musicians and by tropicalizing rock music. Her staged persona and her body aesthetics also reveal the fluidity with which the Queen of Latin music assumes diverse racial, national and historical identities while she simultaneously asserts her Cubanness through the use of Spanish on stage. Celia Cruz serves as a complex and intriguing icon of the relational nature of nationalism and transnationalism.     

Organizing creation: The role of musical text

This study considers how the work of an amateur orchestra creating a concert performance of a Haydn's concerto is organized by the musical score. The method of inquiry which places the text in the centre of the analysis explores how the surrounding social relations and discourses are carried into an actual work-in-progress; in this process, the score is a link between the macro level of musical discourse embodied in other texts, the related macro level of performance history, and the micro level of individual performance, finally connecting the individual work of actual composers to the exposition of that work. The study furthers existing ethnomethodological and phenomenological examinations of orchestral performance by exposing some of the relations underlying the taken-for-granted ‘common ground’ of the score.     

Musicians' social representations of health and illness: a qualitative case study about focal dystonia

Musicians are artists who use the entire body when playing their instruments. Since over-practicing may lead to physical problems, musicians might encounter focal dystonia, a hand's motor disorder. The cause seems to be the brain's confusion between afferent and efferent information transfer provoking a disharmony with the instrument. Although focal dystonia may have serious consequences for a musician's career, it is unclear how musicians perceive this trouble. This case study describes two musicians with focal dystonia. Qualitative research was used to study their social representations of health and illness. The results show the central role of the hand during music playing, the passion for music and the understanding for focal dystonia as "brain panic". Therapists should account for those specific features inherent to this population in order to better help them in their quest for art through music. Giving a voice to musicians may improve their quality of care.     

“The Spider Is Alive”: Reassessing Becker's Theory of Artistic Conventions through Southern Italian Music

Howard Becker wrote that art is constructed, and understood, according to conventions. However, Becker does not adequately explain how artists negotiate historical circumstances affecting their work. Using the southern Italian phenomenon of tarantism and its music, I address how contemporary musicians employ conventions to transform sounds with deviant connotations. The alteration of musical conventions reflects material social conditions in the Salento region and provides insight into the formation of a Salentinian cultural movement's ideology. By accounting for how social groups contend with history, I argue that sociologists must reconsider the theory of artistic conventions.     

Occupational rhetoric and ideology: A comparison of copy and original music performers

This study focuses on similarities and differences between occupational rhetorics and ideologies of two groups of local level popular musicians, those who compose and perform their own music and those who perform music made commercially successful by other bands/performers. The analysis of in-depth interviews with twenty-five local level musicians demonstrates that the latter have developed an ideology which legitimates definitions of themselves as audience-oriented technicians who view the performance of music as an economic enterprise; musicians who perform original music share an ideology which stresses creativity over economic reward and legitimates a definition of themselves as primarily artists. Both types of musicians and their ideologies are discussed in relation to larger structural forces of the popular entertainment industry.Revised version of a paper presented at the annual meeting of the Popular Culture Association in the South, Knoxville, TN (October, 1988). The author wishes to thank the two anonymous reviewers for helpful suggestions made on an earlier draft. The author also wishes to thank the Faculty Research Committee at Western Kentucky University for their support during the course of this project.     

Making It in a Cover Music Scene: Negotiating Artistic Identities in a “Kmart‐Level Market”

This research examines how musicians understand art and commerce in a music scene dominated by cover bands. Drawing on thirty semi‐structured interviews and one hundred hours of ethnographic observation, I find that most musicians self‐identify as artists yet perceive social status to be rooted in commercial success. This research details what it means to “make it” in an art world that offers little institutional support or remunerative reward for artistry. Musicians employ three approaches to negotiate the disconnect between artistic identities and commercially defined status: segregating their artistic and commercial pursuits, locating artistry in their commercial work, and justifying their commercially viable activities as a means to attaining a comfortable lifestyle. This on‐the‐ground account of commercial influences’ effects on musicians informs post‐Bourdieusian research on fields of cultural production. I suggest that future research on culture producers must distinguish between social status—a position in a social hierarchy—and interpersonal respect. When esthetics are marginalized as a basis for status, musicians’ status becomes bound to employment opportunities and expansible relative to the extent of the scene.     

Gender and Performance Capital among Local Musicians

This article extends Bourdieu’s field theory to explain how learning spaces in the Toronto folk and metal scenes create gendered access to a field-specific form of cultural capital: performance capital, or the instrumental and interpersonal skills required to perform music. Folk musicians develop performance capital in open-access spaces, such as workshops and open stages at local folk clubs, while metal musicians learn in private spaces such as garages, basements, and rented rehearsal rooms. Folk’s learning spaces are open to all aspiring musicians, while access to heavy metal’s learning spaces relies on social networks from which women are often excluded. These different processes of capital development can lead to greater or lesser opportunities for women to become cultural producers: In Toronto, women make up approximately five percent of heavy metal musicians, but almost half of practicing folk musicians.     

From “Swinging Hard” to “Rocking Out”: Classification of Style and the Creation of Identity in the World of Drumming

This article takes a social constructionist approach to the study of a seldom considered subculture—the “world” of drumming. I describe this subculture from both the “etic” and “emic” perspectives, showing how drummers and drumming are perceived and experienced by the musicians themselves (insiders) as well as the “outside” public. The main focus is on the drummers' intersubjective “mental maps” of their world, specifically exploring how they create musical and personal identities by adhering to a rigid classification scheme surrounding “styles” of drumming. I demonstrate how drummers use drumming equipment, personal appearance, education, and “purist” attitudes to separate styles of drumming and to construct distinct social selves. Of special interest is how drummers are cognitively socialized into “thought communities” which teach and reinforce attitudinal and behavioral norms. I conclude with a discussion of the possibilities of applying my analytical framework to other worlds of music and art, as well as some forms of occupational and avocational specialization.     

Almost Like a Real Band: Navigating a Gendered Jazz Art World

Professional jazz has been organized around two contradictory cultures. Historically, the jazz art world has followed norms of meritocracy, which promote equality across boundaries of race and class. At the same time a culture of exclusivity, anchored in gendered essentialism, has severely limited female participation. By analyzing interview data with artists from the Hamilton College Jazz Archive, we illustrate how these contradictory cultures of inclusion and exclusion operate to channel women into feminized roles in the jazz world. We then discuss how women employ a number of strategies to work around the culture of exclusivity and capitalize on the norms and values of musical meritocracy. Despite institutional openings in professional jazz that emerged following the women’s movement, female jazz artists continue to face strong barriers toward full equality in the jazz world. Although female artists consistently demonstrate that they possess equal musical skills to male musicians according to the norms of meritocracy that guide professional jazz, women remain on the margins of the jazz art world.     

Curtain rising, baton falling: The politics of musical conducting in contemporary Argentina

This article gives an ethnographic account of the several processes under which a charismatic conductor is de-legitimized, exploring the relationship between institutions and charisma in an art world where the authority of the cultural producer is diminished by the management of everyday interaction. The article shows how, in Argentina, the politics of musical conducting are shaped by four institutional worlds. They range from the macro economic cultural policies of the diverse state agencies to the everyday interaction world of orchestra musicians, and include meso-processes and mechanisms like the field of musical conducting. This article explores the structure and ideologies of the four institutional worlds, their interplay, the concrete practices that shaped them, their struggles, and how they overlap in causing the diminishing power of charisma. In undertaking this endeavor, the article systematizes the existing sociological corpus on the orchestral world in order to sketch a more complex and complete picture of hierarchies and interactions.

---

Richard Davis 1943-1981

This article examines some of the key issues discussed and debated in the literature on ‘world music’ in anthropology and ethnomusicology. In particular, it focuses on the kinds of aesthetic and musical decisions made by non-Western musicians as they produce music for a global market; as both producers and consumers of global music, musicians labelled by the term ‘world music’ must consider both local and global audiences when they take the stage or enter the recording studio. The article then relates these issues to the other articles in this issue of TAPJA, which explore a variety of local responses to the world music phenomenon.     

Postural problems of the left shoulder in an orchestral trombonist

Professional musicians require a disciplined and balanced regime of practise and performance to enable them to cope with the physical challenges of their chosen instrument and to reduce the risk of work- related injury. If practise or performance strategies are suddenly changed, permanent damage may occur even in a player with a mature, well-established technique. The trombone presents unique physical challenges which are heightened by recent developments in instrumental design as well as by orchestral working conditions. This study presents the experiences of a professional orchestral trombonist who worked as a principal player in a UK orchestra until his performing career was cut short by a performance related injury. His personal approach to practise is discussed in the context of the physical and professional challenges associated with contemporary orchestral practices. The case study demonstrates the importance of considering the interplay between psychological and physical factors in the development and treatment of injury in musicians.     

Material culture and embodied action: sociological notes on the examination of musical instruments in jazz improvisation

This paper argues that the examination of technologies and their social contexts, which form the basis of the material culture perspective, can be strengthened through an increased awareness of the intersubjective and embodied features of social action. With reference to the ways in which jazz musicians improvise with instruments through embodied praxological skills ( Sudnow, 1978 ) and intersubjective art world knowledge ( Becker, 1982 ), the paper demonstrates the empirical value of these basic sociological concepts. It shows that the ‘affordances’ of usage ( Gibson, 1979 ) that result from social actors’ application of objects through orientation to normative procedure become visible through an understanding of embodied habituated social practice, and it is exactly such affordances that constitute the contextual relevance of materiality for social action.     

Hook‐Ups and Train Wrecks: Contextual Parameters and the Coordination of Jazz Interactions

This article discusses the importance of several parameters of context integral to jazz musicians' ability to hear musical signs as meaningful, such as performers' individual backgrounds and the various other styles of music available in the aural landscape, and how those parameters influence what the musicians play. Several examples from an ongoing ethnography of jazz jam sessions suggest that context is constituted by several variables, that different variables may become salient at different times, and that different interactants vary in their ability to attend to these variables. This study thus extends and elaborates frame analysis by showing that, while an interaction frame of the sort described by Goffman (1974) may perdure, it is subject to change, and the nature of the context it provides for interactions can change whenever a new interaction is initiated.     

Pathways to Becoming a Church Musician

This article is the second in our series on dimensions of the social world of church musicians. For the current analysis of how people first become church musicians, we draw on data from in-depth interviews with 47 church musicians conducted by the three authors. The respondents ranged in age from 18 to 71 years (mean age 43.8 years). There were 19 women and 28 men interviewed. Keyboard players, vocalists, guitarists (acoustic and electric), bass players, drummers, a flautist, and a choir director were interviewed. Results indicate the importance of both early and ongoing socialization in the process of becoming a church musician. Our respondents took a variety of pathways to becoming church musicians, including having parents who were church musicians, regularly attending church services during childhood, and receiving early musical and/or vocal training. Our results also indicate the functioning of three enabling mechanisms—being authority directed, volunteering, and being recruited/invited—that determine the likelihood of an individual becoming a church musician as a child, as an adolescent, or as an adult.     

Case study: musicians' playing-related injuries

Professional and student musicians are at high risk of acquiring a playing-related injury at some point in their careers. Yet, specialized healthcare for musicians is scarce and expensive for most self-employed musicians. Diagnosing these injuries is challenging, and simply taking a break from an activity that has caused physical problems does not address the ergonomic and biomechanic causes of the problem. Under these circumstances, it is not surprising that musicians are reluctant to seek care, and when they do, lack trust in the care that is provided to them. This article is a case presentation of the experiences of a graduate student musician studying performance at a North American university. A narrative style is used to reflect the quality and nature of experiences this musician encountered, followed by a discussion of how to advance a more participatory and holistic approach to enabling return to function.     

Making a Mormon?: Peacemaking in U.S. Press Coverage of the Mormon Baptism for the Dead

In the Mormon doctrine of posthumous baptism, people can be invited into the Church of Jesus Christ of Latter-day Saints (LDS) community through baptism even after their death. When it was reported that the LDS had baptized Jewish Holocaust victims, this caused an uproar in the American Jewish community. The American Gathering of Jewish Holocaust Victims deemed the Mormon practice disrespectful and inappropriate. This study analyzes the news coverage of the negotiations between the group and the Mormon church. While such negotiations would typically be ripe for conflict-privileging coverage, news coverage of these negotiations actually emphasized peacemaking. Using the lens of narrative theory, this study found that, in reporting on negotiations between American Jews and Mormons, the press attempted to mend relations rather than emphasize conflict.