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How Unpopular Musicians Live : = Complex Leisure Careers in Toronto's Indie Scene.

Record Type:	Language materials, manuscript : Monograph/item
Title/Author:	How Unpopular Musicians Live :/
Reminder of title:	Complex Leisure Careers in Toronto's Indie Scene.
Author:	McArton, Lloyd.
Description:	1 online resource (244 pages)
Notes:	Source: Dissertations Abstracts International, Volume: 85-05, Section: A.
Contained By:	Dissertations Abstracts International85-05A.
Subject:	Music education. -
Online resource:	click for full text (PQDT)
ISBN:	9798380839983

How Unpopular Musicians Live : = Complex Leisure Careers in Toronto's Indie Scene.
McArton, Lloyd.

How Unpopular Musicians Live :Complex Leisure Careers in Toronto's Indie Scene. - 1 online resource (244 pages)

Source: Dissertations Abstracts International, Volume: 85-05, Section: A.

Thesis (Ph.D.)--University of Toronto (Canada), 2023.

Includes bibliographical references

The phenomenon of independence in popular music offers a glimpse into the economic dimensions of musical creation and livelihoods. Such considerations have been absent in scholarship concerning musical learning and music education. Building upon extant research on popular music, this research seeks to further the growing presence of (un)popular music education emphasizing the reality that most musicians who engage in popular music are relatively unpopular.This narrative ethnographic research features the experiences and stories of 24 Toronto-based indie musicians. Data was collected via 17 semi-structured interviews between May and December of 2020. 13 interviews feature individual musicians, and four interviews were conducted with bands (11 musicians). The interviews were structured around open-ended questions that invited participants their musical histories and perspectives.A significant finding was the highly complex relationship between earning a living and pursuing a career creating original music, which one participant describes as a catch-22 due to the rising cost of living in Toronto. Further, the opaque gatekeeping processes of the music industry provide a deep contrast from the music scene, suggesting functional differences between the two despite significant overlap in their physical and social spaces.The analytical and theoretical framework for this research is based on extensions to Stebbins' serious leisure perspective. The first is the expansion of possible activities to include fulfillment activities, entrepreneurial activities, ancillary activities, and casual activities; the second is the concept of a complex leisure career, containing multiple activities, which serves to better represent the complexity of indie musicians' careers in creating original music; the third is the introduction of semi-professional devotee as a role to most respectfully and accurately represent the magnitude of musical activities (and complex leisure careers) in the participants' lives.I conclude by discussing the implications of participants' experiences on the field of music education. In considering the purpose of public music education, I suggest that school-based music education could better support the individual and collective interests of its students through the implementation of learning models based on serious leisure education, prioritizing students' independence (of).

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798380839983Subjects--Topical Terms:

1179893
Music education.
Subjects--Index Terms:

IndieIndex Terms--Genre/Form:

554714
Electronic books.

How Unpopular Musicians Live : = Complex Leisure Careers in Toronto's Indie Scene.
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520 $a The phenomenon of independence in popular music offers a glimpse into the economic dimensions of musical creation and livelihoods. Such considerations have been absent in scholarship concerning musical learning and music education. Building upon extant research on popular music, this research seeks to further the growing presence of (un)popular music education emphasizing the reality that most musicians who engage in popular music are relatively unpopular.This narrative ethnographic research features the experiences and stories of 24 Toronto-based indie musicians. Data was collected via 17 semi-structured interviews between May and December of 2020. 13 interviews feature individual musicians, and four interviews were conducted with bands (11 musicians). The interviews were structured around open-ended questions that invited participants their musical histories and perspectives.A significant finding was the highly complex relationship between earning a living and pursuing a career creating original music, which one participant describes as a catch-22 due to the rising cost of living in Toronto. Further, the opaque gatekeeping processes of the music industry provide a deep contrast from the music scene, suggesting functional differences between the two despite significant overlap in their physical and social spaces.The analytical and theoretical framework for this research is based on extensions to Stebbins' serious leisure perspective. The first is the expansion of possible activities to include fulfillment activities, entrepreneurial activities, ancillary activities, and casual activities; the second is the concept of a complex leisure career, containing multiple activities, which serves to better represent the complexity of indie musicians' careers in creating original music; the third is the introduction of semi-professional devotee as a role to most respectfully and accurately represent the magnitude of musical activities (and complex leisure careers) in the participants' lives.I conclude by discussing the implications of participants' experiences on the field of music education. In considering the purpose of public music education, I suggest that school-based music education could better support the individual and collective interests of its students through the implementation of learning models based on serious leisure education, prioritizing students' independence (of).
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