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Self concept of locked out career mu...

Verrill, Mary G.

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Self concept of locked out career musicians: A phenomenological study.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Self concept of locked out career musicians: A phenomenological study./
Author:	Verrill, Mary G.
Description:	226 p.
Notes:	Source: Dissertation Abstracts International, Volume: 76-12(E), Section: A.
Contained By:	Dissertation Abstracts International76-12A(E).
Subject:	Adult education. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3714347
ISBN:	9781321915907

Self concept of locked out career musicians: A phenomenological study.
Verrill, Mary G.

Self concept of locked out career musicians: A phenomenological study. - 226 p.

Source: Dissertation Abstracts International, Volume: 76-12(E), Section: A.

Thesis (Ed.D.)--Saint Mary's University of Minnesota, 2015.

For career musicians who underwent a lockout by their managements, such a traumatic disruption was an opportunity for learning to occur about their profession, music performance, and themselves. Using Jarvis's (2004, p. 106) model of adult learning processes, a phenomenological study sought to answer the research question: How did the lived experience of career musicians during a labor lockout change their self-concept as musicians? To arrive at an essence of that experience, quantitative and qualitative data were gathered by using a demographic questionnaire and interviews. The population was identified from published rosters of two acclaimed orchestras that locked out their musicians in the 2012--13 and 2013--14 performance seasons. The qualitative data analysis followed Creswell's (2007, p. 159) method to arrive at a description of the "essence" of lived experience by career musicians during a labor lockout. Results confirmed the lockouts provided "disjunctures" as catalysts for "lifelong education" (Jarvis, 2004), even though musicians' self-concept were affirmed. As a group, musicians fit Haiven's (2006) matrix of negotiation when performing with a top-down, hierarchical organization, but not when performing in a collaborative organization, bringing musicians into Haiven's (2006) "union zone." However, results departed from Haiven's (2006) matrix by indicating career musicians' high need for social networks and less dependency on work deployment within collaborative organizations. The essence of musicians' experiences during a labor lockout could inform the fields of labor relations, andragogy, music education, music psychology, and organizational change.

ISBN: 9781321915907Subjects--Topical Terms:

543202
Adult education.

Self concept of locked out career musicians: A phenomenological study.
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245 1 0 $a Self concept of locked out career musicians: A phenomenological study.
300 $a 226 p.
500 $a Source: Dissertation Abstracts International, Volume: 76-12(E), Section: A.
500 $a Adviser: Richard Germundsen.
502 $a Thesis (Ed.D.)--Saint Mary's University of Minnesota, 2015.
520 $a For career musicians who underwent a lockout by their managements, such a traumatic disruption was an opportunity for learning to occur about their profession, music performance, and themselves. Using Jarvis's (2004, p. 106) model of adult learning processes, a phenomenological study sought to answer the research question: How did the lived experience of career musicians during a labor lockout change their self-concept as musicians? To arrive at an essence of that experience, quantitative and qualitative data were gathered by using a demographic questionnaire and interviews. The population was identified from published rosters of two acclaimed orchestras that locked out their musicians in the 2012--13 and 2013--14 performance seasons. The qualitative data analysis followed Creswell's (2007, p. 159) method to arrive at a description of the "essence" of lived experience by career musicians during a labor lockout. Results confirmed the lockouts provided "disjunctures" as catalysts for "lifelong education" (Jarvis, 2004), even though musicians' self-concept were affirmed. As a group, musicians fit Haiven's (2006) matrix of negotiation when performing with a top-down, hierarchical organization, but not when performing in a collaborative organization, bringing musicians into Haiven's (2006) "union zone." However, results departed from Haiven's (2006) matrix by indicating career musicians' high need for social networks and less dependency on work deployment within collaborative organizations. The essence of musicians' experiences during a labor lockout could inform the fields of labor relations, andragogy, music education, music psychology, and organizational change.
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