Hostname: page-component-586b7cd67f-dlnhk Total loading time: 0 Render date: 2024-11-22T11:10:56.994Z Has data issue: false hasContentIssue false
  • English
  • Français

Portfolio careers and work-life balance among musicians: An initial study into implications for higher music education

Published online by Cambridge University Press:  24 June 2015

Adele Teague  and
Gareth Dylan Smith
Adele Teague
Affiliation:
Institute of Contemporary Music Performance, 1A Dyne Road, London NW6 7XG, [email protected], [email protected]
Gareth Dylan Smith
Affiliation:
Institute of Contemporary Music Performance, 1A Dyne Road, London NW6 7XG, [email protected], [email protected]
Get access Rights & Permissions [Opens in a new window]

Abstract

Musicians are acknowledged to lead complex working lives, often characterised as portfolio careers. The higher music education research literature has tended to focus on preparing students for rich working lives and multiple identity realisations across potential roles. Extant literature does not address the area of work-life balance, which this paper begins to explore, as the authors seek to better understand potential challenges around combining music graduates' multivariate ambitions, commitments and identities as musicians in the world. Rich data are presented, following interviews with professional musicians in London, UK, discussing health, portfolio careers and family. The authors conclude that more research is required to gain a deeper understanding of work-life balance for musicians, and that pedagogical approaches in higher music education could more effectively help students to prepare for their futures in a more holistic way.

Type
Research Article
Information
British Journal of Music Education , Volume 32 , Issue 2 , July 2015 , pp. 177 - 193
Check for updates
Copyright
Copyright © Cambridge University Press 2015 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

ARTHUR, M. B., KHAPOVA, S. N. & WILDEROM, C. P. M. (2005) Career success in a boundaryless career world. Journal of Organizational Behavior, 26, 177–202.CrossRefGoogle Scholar
BAYTON, M. (1998) Frock Rock: Women Performing Popular Music. Oxford: Oxford University Press.CrossRefGoogle Scholar
BENNETT, D. E. (2008) Understanding the Classical Music Profession: The Past, the Present and Strategies for the Future. Aldershot: Ashgate.Google Scholar
BENNETT, D. E. (2013) The role of career creativities in developing identity and becoming expert selves. In Burnard, P. (Ed.), Developing Creativities in higher Music Education: International Perspectives and Practices (pp. 224–244). London: Routledge.Google Scholar
BERGER, J. (2002) The Shape of a Pocket. London: Bloomsbury.Google Scholar
BOURDIEU, P. (2001) Masculine Domination. Cambridge: Polity Press.Google Scholar
BRESLER, L. & STAKE, R. (2006) Qualitative research methodology in music education. In Colwell, R. (Ed.), MENC Handbook of Research Methodologies. New York, NY: Oxford University Press.Google Scholar
BURNARD, P. (2012) Musical Creativities in Practice. Oxford: Oxford University Press.CrossRefGoogle Scholar
BUTLER, J. (1999) Gender Trouble: Feminism and the Subversion of Identity. London: Routledge.Google Scholar
BUTLER, J. (2004) Undoing Gender. Abingdon: Routledge.CrossRefGoogle Scholar
CAREY, G. & LEBLER, D. (2012) Reforming a Bachelor of Music program: a case study. International Journal of Music Education, 31, 312–317.CrossRefGoogle Scholar
CARTWRIGHT, P. A. & SMITH, G. D. (2014) Innovation and value in networks for emerging musicians. In Pfeffermann, N., Marshall, T. & Mortara, L. (Eds), Strategies and Communications for Innovation: An Integrative Management View For Companies and Networks (pp. 437–443). New York, NY: Springer.Google Scholar
COTTRELL, S. (2004) Professional Music-making in London: Ethnography and Experience. Aldershot: Ashgate.Google Scholar
CREMATA, R., PIGNATO, J., POWELL, B. & SMITH, G. D. (2013) Music learning profiles project. Fifty-sixth Conference of the College Music Society, Cambridge, MA, USA.Google Scholar
CRESWELL, J. W. (2007) Qualitative Inquiry and Research Design: Choosing Among Five Approaches. Thousand Oaks, CA: Sage.Google Scholar
DENZIN, N. K. & LINCOLN, Y. S. (2000) Handbook of Qualitative Research, 2nd edn. Thousand Oaks, CA: Sage.Google Scholar
FEICHAS, H. (2010) Bridging the gap: informal learning practices as a pedagogy of integration. British Journal of Music Education, 27, 47–58.CrossRefGoogle Scholar
FORBES.COM (2013) The world's highest-paid musicians 2013. http://www.forbes.com/sites/zackomalleygreenburg/2013/11/19/the-worlds-highest-paid-musicians-2013/.Google Scholar
GAUNT, H. & PAPAGEORGI, I. (2010) Music in universities and conservatoires. In Hallam, S. & Creech, A. (Eds), Music Education in the 21st Century in the United Kingdom: Achievements, Analysis and Aspirations (pp. 260–278). London: Institute of Education.Google Scholar
GAUNT, H. & WESTERLUND, H. (Eds) (2013) Collaboration in Higher Music Education. Farnham: Ashgate.Google Scholar
GLASER, B. G. & STRAUSS, A. L. (1968) The Discovery of Grounded Theory. New York, NY: Aldine Publishing.Google Scholar
GREEN, L. (1997) Music, Gender, Education, Cambridge: Cambridge University Press.CrossRefGoogle Scholar
GREEN, L. (2002) How Popular Musicians Learn: A Way Ahead for Music Education. Aldershot: Ashgate.Google Scholar
GREENHAUS, J. H., COLLINS, K. M. & SHAW, J. D. (2003) The relation between work–family balance and quality of life. Journal of Vocational Behavior, 63, 510–531.CrossRefGoogle Scholar
GREGORY, M. & CONNOLLY, S. (2008) The price of reconciliation: part-time work, families and women's satisfaction. Economic Journal, 118, F1–F7.CrossRefGoogle Scholar
HALLAM, S. & GAUNT, H. (2012) Preparing for Success: A Practical Guide for Young Musicians. London: Institute of Education Press.Google Scholar
HILL, E. J., HAWKINS, A. J., FERRIS, M. & WIETZMAN, M. (2001) Finding an extra day a week: the positive influence of perceived job flexibility on work and family life balance. Family Relations, 50, 49–58.CrossRefGoogle Scholar
JORGENSEN, E. R. (2009) A philosophical view of research in music education. Music Education Research, 11, 405–424.CrossRefGoogle Scholar
LAMB, R., DOLLOFF, L-A. & HOWE, S. W. (2002) Feminism, feminist research, and gender research in music education: a selective review. In Colwell, R. & Richardson, C. (Eds), The New Handbook of Research on Music Teaching and Learning: A Project of the Music Educators National Conference (pp. 648–674). New York, NY: Oxford University Press.Google Scholar
LEBLER, D. (2007) Student as master? reflections on a learning innovation in popular music pedagogy. International Journal of Music Education, 25, 205–221.CrossRefGoogle Scholar
LEBLER, D. (2008) Popular music pedagogy: peer learning in practice. Music Education Research, 10, 193–213.CrossRefGoogle Scholar
LEE, Y-L. (2010) Introduction: the politics of gender. In Lee, Y-L. (Ed.), The Politics of Gender: A Survey (pp. 3–9). London: Routledge.CrossRefGoogle Scholar
LONG, M. (2013) Exploring cognitive strategies and collaboration in master class settings. In Gaunt, H. & Westerlund, H. (Eds), Collaboration in Higher Music Education (pp. 136–149). Farnham: Ashgate.Google Scholar
MCDOWELL, L. (2001) Father and Ford revisited: gender, class and employment change in the new millennium. Transactions of the Institute of British Geographers, New Series, 26, 448–464.CrossRefGoogle Scholar
MENGER, P.-M. (1999) Artistic labor markets and careers. Annual Review of Sociology, 25, 541–574.CrossRefGoogle Scholar
MIKEDOLBEAR.COM (2013) Interview with Sheila E. http://www.mikedolbear.com/story.asp?StoryID=3668.Google Scholar
MILLER, K. E. & QUIGLEY, B. M. (2012) Sensation-seeking, performance genres and substance abuse among musicians. Psychology of Music, 40, 399–410.CrossRefGoogle Scholar
MUNCEY, T. (2010) Creating Autoethnographies. London: Sage.CrossRefGoogle Scholar
MUSICIANS' UNION (2012) The Working Musician. London: DHA Communications. http://www.musiciansunion.org.uk/wp-content/uploads/2012/12/The-Working-Musician-report.pdf.Google Scholar
NARVAEZ, R. F., MEYER, I. H., KERTZNER, R. M., OUELLETTE, S. C. & GORDON, A. R. (2009) A qualitative approach to the intersection of sexual, ethnic and gender identities, Identity: An International Journal of theory and Research, 9, 63–86.CrossRefGoogle Scholar
PARKINSON, T. & SMITH, G. D. (2014) Towards an epistemology of authenticity in (higher) popular music education. Centre of Educational Research in Music – CERM – opening conference, Oslo, Norway.Google Scholar
PARKINSON, T. & SMITH, G. D. (2015) Towards an epistemology of authenticity in higher popular music education. Action, Criticism, and Theory for Music Education, 14, 1, 93–127.Google Scholar
PARTTI, H. (2012) Learning from Cosmopolitan Digital Musicians: Identity, Musicianship, and Changing Values in (In)Formal Music Communities. Helsinki: Sibelius Academy.Google Scholar
PHILIP, R. (2013) Being Here: Conversations on Creating Music. New York, NY: Radhio.Google Scholar
REYNOLDS, J. (2005) In the face of conflict: work-life conflict and desired work hour adjustments. Journal of Marriage and Family, 67, 1313–1331.CrossRefGoogle Scholar
RINSEMA, R. M. (2012) Listening in Action: Students' Mobile Music Experiences in the Digital Age. Doctoral thesis, University of South Florida.Google Scholar
ROBSON, C. (2011) Real World Research, 3rd edn. Chichester: Wiley.Google Scholar
SHUT UP & SING (2006) DVD. Directed by B. Kopple and C. Peck.Google Scholar
SMITH, G. D. (2013a) I Drum, Therefore I Am: Being and Becoming a Drummer. Farnham: Ashgate.Google Scholar
SMITH, G. D. (2013b) Pedagogy for employability in a foundation degree (FdA) in creative musicianship: introducing peer collaboration. In Gaunt, H. & Westerlund, H. (Eds), Collaboration in Higher Music Education (pp. 193–198). Farnham: Ashgate.Google Scholar
SMITH, G. D. (2013c) Seeking ‘success’ in popular music. Music Education Research International, 6, 26–37.Google Scholar
SMITH, G. D. (2014) Masculine domination and intersecting fields in private-sector popular music performance education in the UK. In Burnard, P., Hofstander, Y. & Dyndahl, P. (Eds), Bourdieu and the Sociology of Music and Music Education. Farnham: Ashgate.Google Scholar
SMITH, J. A., FLOWERS, P. & LARKIN, M. (2009) Interpretative Phenomenological Analysis: Theory, Method and Research. London: Sage.Google Scholar
SMITH, G. D. & SHAFIGHIAN, A. (2013) Creative space and the ‘silent power of traditions’ in popular music performance education. In Burnard, P. (Ed.), Developing Creativities in Higher Music Education: International Perspectives and Practices (pp. 256–267). London: Routledge.Google Scholar
STAKELUM, M. (2013) Introduction. In Stakelum, M. (Ed.), Developing the Musician: Contemporary Perspectives on Teaching and Learning (pp. 1–6). Farnham: Ashgate.Google Scholar
THÉVENON, O. & HORKO, K. (2009) Increased women's labour force participation in Europe: progress in the work-life balance or polarization of behaviours? Population (English Edition, 2002–), 64, 235–272.CrossRefGoogle Scholar
TOM TOM MAGAZINE (2013) The oral history of female drummers. http://www.youtube.com/watch?v=8NA14dfyutg.Google Scholar
TWITTER.COM. Darren Ashford. https://twitter.com/ashdrum.Google Scholar
WEBER, W. (2004) The musician as entrepreneur and opportunist, 1700–1914. In Weber, W. (Ed.), The Musician as Entrepreneur, 1700–1914: Managers, Charlatans, and Idealists (pp. 3–21). Bloomington, IN: Indiana University Press.CrossRefGoogle Scholar
WHITE, M., HILL, S., MCGOVERN, P., MILLS, C. & SMEATON, D. (2003) High-performance management practices, working hours and work–life balance. British Journal of Industrial Relations, 41, 175–195.CrossRefGoogle Scholar
WHITELEY, S. (1997) Introduction. In Whiteley, S. (Ed.), Sexing the Groove: Popular Music and Gender. London: Routledge.Google Scholar