L’« instrumentalisation » des carrières musicales Division sociale du travail, inégalités d’accès à l’emploi et renversement de la hiérarchie musicale dans les conservatoires de musique

Pégourdie, Adrien

doi:10.3917/socio.064.0321

Cited by 6 publications

(3 citation statements)

References 18 publications

Supporting

Mentioning

Contrasting

Unclassified

Order By: Relevance

“…And what we can see is that there are instrumental preferences conditioned by gender. This is the case of brass instruments that appear to us recurrently attributed to men which coincides with the vision of Pizarro (2010), Pégourdie (2015) andO'Neill andBoultona (1996).…”

Section: Discussionmentioning

confidence: 80%

“…One of the most studied aspects in this line is the relationship between gender and choice of instrument Pizarro (2010) speaks of a series of instruments traditionally considered masculine, such as brass or percussion instruments, and others more feminine, such as the piano or stringed instruments. Pégourdie (2015) and O'Neill and Boultona (1996) agree. The latter also states there are certain prejudices even from an early age when it comes to assessing which instruments are appropriate for either sex.…”

Section: Introductionmentioning

confidence: 67%

See 1 more Smart Citation

Presence and Performance of Women in Higher Music Studies in Spain

Jiménez-Pérez¹,

Díaz-Olaya²

2021

JSS

View full text Add to dashboard Cite

This article is a case study focused on a music conservatory in southern Spain regarding the implications of the female gender in the academic and professional performance of music students. Through study of data from the Ministry of Culture, the center's secretariat and a more extensive survey carried out on the promotions of students who have completed their studies, it has been possible to observe a number of aspects showing a series of significant differences in terms of academic and professional performance between male and female music students, without concluding there is real discrimination.

show abstract

Section: Discussionmentioning

confidence: 80%

Section: Introductionmentioning

confidence: 67%

Presence and Performance of Women in Higher Music Studies in Spain

Jiménez-Pérez¹,

Díaz-Olaya²

2021

JSS

View full text Add to dashboard Cite

show abstract

“…Certains éléments présentés dans cette partie ont été évoqués dans un autre article (Pégourdie, 2015) consacré à la division sociale du travail instrumental sur tous les emplois de la musique classique, y compris l'intermittence et l'enseignement. La cohérence de la démonstration de cet article me conduit à les présenter également ici.…”

unclassified

Les voies sociales de la consécration musicale

Pégourdie

2016

socsoc

Self Cite

View full text Add to dashboard Cite

Cet article analyse les déterminants sociaux de l’accès à la reconnaissance artistique en musique classique. Récusant les modèles théoriques naturalistes centrés sur le talent comme principe explicatif ultime de la réussite des carrières artistiques, il s’attache à mettre en évidence les conditions sociales de la consécration musicale. Ainsi, le processus de reconnaissance est étudié à travers les inégalités instrumentales qu’il suscite, lesquelles sont étroitement liées à des différenciations sociales. Après avoir mis au jour ces inégalités, qui tendent à consacrer prioritairement des interprètes d’instruments socialement sélectifs, on s’intéresse aux façons de surmonter l’absence de consécration pour des interprètes des instruments plus ouverts socialement qui sont, le plus souvent, poussés vers l’enseignement. L’étude des trajectoires de musiciens révèle ainsi les dynamiques sociales auxquelles elles sont soumises, de l’origine sociale dont dépend notamment la familiarisation précoce avec les principes du champ de la musique classique aux inégalités entre les sexes qui orientent les manières de « se faire à sa position ».

show abstract

‘Types’ of Popular Musicians: From Musical to Professional Styles: Some Epistemological Reflections Based on the Case of French-Speaking Swiss Musicians

Perrenoud,

Bataille

2024

Cultural Sociology

View full text Add to dashboard Cite

In academic research on popular music, the framing by musical genres and styles such as ‘Rock’, ‘Jazz’, and ‘Electro’ often seems obvious to social sciences scholars. The history, aesthetic features, and boundaries of musical idioms are major concerns for cultural studies, and the notion that musical styles shape the professional musical landscape is commonly accepted. This article is based on a survey involving 125 respondents in French-speaking Switzerland. It combines network analysis based on musical pairings during the year before the survey, with a typical socio-economic approach to understanding the features and resources of musicians. We demonstrate that the conventional approach of classifying musicians by ‘musical styles’ is not the most effective way to understand the structure of the musical occupational group. Instead, work pairings in music, and more broadly, sub-networks that emerge within our population, effectively group musicians according to their ‘professional style’ rather than their ‘musical style’. The focus is not on playing ‘Rock’, ‘Pop’, or ‘Jazz’, but rather on performing original compositions or covers, and whether one is a unique creative artist playing concerts or a service provider performing for entertainment gigs.

show abstract

L’« instrumentalisation » des carrières musicales Division sociale du travail, inégalités d’accès à l’emploi et renversement de la hiérarchie musicale dans les conservatoires de musique

Cited by 6 publications

References 18 publications

Presence and Performance of Women in Higher Music Studies in Spain

Presence and Performance of Women in Higher Music Studies in Spain

Les voies sociales de la consécration musicale

‘Types’ of Popular Musicians: From Musical to Professional Styles: Some Epistemological Reflections Based on the Case of French-Speaking Swiss Musicians

Contact Info

Product

Resources

About