Tracing the transition from study to a contemporary creative working life: the trajectories of professional musicians

The classical music academy is a site dominated by traditional meanings of creative practice and an image of the professional creative career as solo performer that is fully available to only a very few students after graduating. The purpose of the study reported in this paper is to explore career-young professional pianists’ talk about the transition from study within a music academy to working life. The focus is on the ways in which they characterize the nature and significance of this transition from very traditional practice and study, and how they (re)negotiate their identities as professional musicians and pianists in contemporary working life. Four classical pianists were interviewed in-depth about their musicianship, including their transition from study to working life. The qualitative analyses presented here suggest that, as they talked about their transitions and developing musicianship, the speakers constructed, re-constructed and oriented to notions of professional trajectories. Such trajectories are emergent, relational and contextually constituted (Sawyer 2003; MacDonald and Miell 2002; Moran and John-Steiner 2004). Rather than being fixed or dependent on communal expectations, they reflect creative freedom and independence, encompassing multiple influences. Crucially, the transition from study to working life is implicated in the process of assuming agency in respect of one’s own musicianship and career—a process that involves identity work, the (re)negotiation of pathways, narrations and trajectories

The Elusive Muse : Understanding Musical Giftedness

Many labels exist to outline musical giftednessor aspects of it; a profusion resulting from differentepistemological positions, disagreements, and theconsiderable complexity of the issue. In this chapter,musical giftedness as a sub-cultural attribute is discussedas well as the problems inherent in attributionby consensus procedures. Based on available researcha conceptual model of musical giftedness is outlinedbased on domain generality and domain specificity,thus proposing an understanding of musical giftednessas a set of core skills and sets of key skills, particularfor specific domains. The question of heredity isbrought to the fore as is the significance of accumulatedpractice over time. Differences between the developmentof Western Classical musicians and popularmusicians are demonstrated. Recent research on giftednessidentification is also discussed followed by aconcluding overview of potential research pitfalls asthe understanding of musical giftedness continues tobe explored