National Library. Biblmt_hfrque national8 I*E ofcam du Canada *, 3 t . - - C Canadian Theses Sewice Service desWsescanadiennes Ottawa, Canada - KtAW - - -- - - a -7 -7 I / I - C-a - ITL \ NOTICE. The cpatity of this microform is hgavily dependent upon theL La qualit6 de cette microforme depend grandement de la uality of the orginal thesis submitfBd for microfilming. qualit6 de la these soumise au microfilmage. Nous avons &e%ffort has been made to ensure the high%$!quality of tout fait pour assurer une qualit6 supdrieure de reproduc- repro ction possible. tion. It pa es are missing, contact the university which gpnted Sail manque des pages, veuillez .m&muniquer avec the fegree. I'universitd qui a conf6r6 le grade. ' Some pages may have indistinct print especial if the La qualit6 d'impression de certaines pages peut la~sserb o iginal pages were typed with a poor typewriter riknor desirer, surtout si les pages originales ont 616 dactylogra- &he university sent us an,inferior photocopy. phi6es A I'aide d'un ruban us4 ou si I'universitd nous a lad cparvenir une photocopie de qualit6 infbtbure. Reproduction in full or in part ot this microform is La reproduction, meme partielle, de cette microlorme est by the Canadian Copyright Act. R.S.C\197D,crr -30 andned soumise A la Loi canadienne sur le droit d'auteur, S,RC subsequent amendments. 7 1970, c. C-30,et ses3'mendernents subsequents -, e I 9. r 1. -- MAKING MUSIC FOR MONEY, . INSTEAD AN ETHNOGaPHY OF SOLITARY MUSICIANS - L - .7-, Fr Karl William Neuenfeldt B.Sc. Wisconsin State University, 1969 A THESIS SUBMITTED IN PARTIAL FULFILLMENT * OF THE REQUIREMENTS FOR THE DEGREE OF MASTERS OF ARTS in the' Bepartment of Sociology and Anthropology Karl Wilcliam Neuenfeldt 1988 SIMON FRASER UNIVERSITY November 1988 .- - - All rights reserved. This work may n6t be reproduced in whole or part, by photocopy other means, without permission of the author,. Permission has been granted '%' autoriaation a accordbe to fhe National Library of h la ~ibliothaque nationale Canada to microfilm this du Canada de microfilmbr thesis and to lend or sell 'cette thbae et de prater ou copies of the film. de vendre deb exemplairer du film. The author (copyright owner ) L'auteur (titulaire du'droit has reserveb other d'auteur) ae rbserve- lea publication rights, and autree droite de publication; neither the thesis nor ni la thkee ni de longs extensive extracts from it extraits de celle-ci ne may be printed -or otherwise doivent Btre impride ou reproduced without his/her - dutrement repr uite mans man written permission. autoriaation & Harm;: Karl William Neuenfeldt Master of Arts (Anthropolo$\ j 1 9 G Title of Thesis: " I Was Making. Music ~ar'Money, Instead Of Making MGsic Far Me. " Ah Ethnography of Solitary Musicians Ex ami n j ng Cammi ttee: Chairperson: Dr. Gary Teepl e Dr. Noel Dyck Senior Supervisor - - Dr. Michael Kenny -- - Dr. ~arrewGi 11 Dr. Martin Laba Externat Examiner Department of Commirn i cat i ons Si mon Fraset- Uni versi ty .Date Approved -42 %%f i . '\ '\ \ \ ' PART l AL COPYR IGH7 LICENSE \ II - - \ c \ \ \ e I hefedy grant to Simon Fraser Unlverslty the right to lend my thesis, project or extenbed essay (the title of which is shown below) to users of the Simon Fraser lLnivers,ity Library, and to make partial or single copies on1 y for such users or in response to a request the library of .any other university, or other educational Institution, on its own behalfAo,rfor one of its users. I further agree that permission t for multiple copying of thi's work for 'scholarly purposes may be granfed B by me or the Dean of Graduate Studies. It is understood that copying * or publication of this work for financial gain shall not be allowed without my written permission, Title of Thesis/Proj\e ct/Extended Essay d "Iwas making music' r money, instead of making music for me.". An Ethnography of Solitary Musicians. - * Author: I (signature) Karl ~etibfeldt (name) ' (date) I ABSTRACT - , at.,thesis examines -the [&&upational 'rotitriti.s --of - v* A solitary mu$iciam/ cmt ertainers, "singles", .(ident.i f idA -- - -- * prof. ossionally as "singles") , who are hired as musical subcontractors to perform in baes, Xounger, and restaurants. The primary focus fpr the thesis is upon the cqreer t contingencies that shape singles' entry, continuity, and/or decision to leave the occupation. The objective for the thesii is to ddcwcurt and analyze the wark' singles do 'from an anthropological perspective, in particular that proposed by Wallman .(1979) , In accordance with this approach, they+ are' / seen to convert both intangible resources (musfcal and social skills) and tangible resources (time, transport, and social ! support) into a livelihood. Singles, however, exercise - limited control over the conditions of-thei'r work since considerable power over singles' professional activities lies 1 primarily with the other social actorsi-- booking agents, vonua managers and staff -- with whom they coope=ate to - (2-b i. construct public performances . - * The topical areas investigated in the thesi3center ,on factors and tasks that culminate in an. individual becoming a professional entertainer and functioning in that capacity. I Theti factors include: the influence of family, peers, and - - " \- oducat ional . training on choice of career ; how paid *work is actually obtained; the management of travel and inter- , personal relationshids ; the ec.onornio.. dimensions of tha oocuprtion; ..the extent of identification +or;lionation with . * '0 J I $/ ' the occupation; and, finally,- -- the-- ways- -in which- single8-- - - formulate career and musical aspirations for thomsolv~~and - - -- - - - - ------ - \ . - for their progeny. * Methodologiqa-lly, this thenis employs rxtandod crrwr ' b hiskories and participant observation to gathar data on a 1- 'sample of ken male guitarists in British Columbia. Intarviaws L were also agents, managers, staff , and 1- *atrons. by th-e. rqsoarchrrJ8 oxton&vcl_ - background as r muricib and single. Thi. th8.i. combinar- 3 aspects of both "insider" and "outsider" ethnography and * r gives spme attention to the challenge. encountard. in. atterhpting to combine the two perspect-ives. h 1' This examinat ion of the occupational activities of solitary musicians/ entertainers shows that tho work thoy do is ixtensive, although not alwaya, apparqnt, and'can ba 1 usefully compared andr8'ontrasted (to other occupations rtudiad by anthropologi7~ts. Due to tho exploratory .nature 'of t,hi. - - study, suggestions for further resgarch are included.. hemp,:to excess, are lazy, do not like to indulge $n -.. t physical labor an.d are 'poor at it, are exkellent lovers bk i poor h;sbrnds, a$d ard improvident and foolish in the ; +L management of money; furthhmore, they quarrel, like to \. travel, are inordinately fond'of eating, and are apt to - - --- - fleece th? unwary, pyticularly strangers. But life in a - village without music$ans is notto,- -- -- ba considered." (Alan Merriam, 'Basongye Musicians apd Social Deviance' \ -. (1979) .) S a r -.+, Y - Wbrk is way beyond the problemeof whether. itDs'bor& or not, because your life is pn the line. Your work is where you -- - - - - -- locate your self respect, that's wher6 you test your -- character, wh&e you ref in. what's left bf yourt%elf. (~eonard ohe en , ~he'VkouverSun, Sect ion H3- 6 October 22,1988.) - w --.? --.? 1 \ TABLE OF CONT@JTS APPROVAL. .....................; ............... ; : ............: ii . -A8sTE!@-. ., '--.. ... .........-. .-;..... ., ;...... .-. ... .-. ,. iiiL QUOTATIONS .......,*..........,.*.'# ;....~.~....................~.v CHAPTER 1 - .AN INTRODUCTION - -- - -- DDTENG TF5FROBLEH .....................*..~........-1 REM~N~FOR - UNDER%AKINO RESEARCH. ..................... .9 OCCUPATIONAL ETHNOGRAPHIES. ......... ;,,......,.....,'.,lQ MUSICAL ETHNpOGRAPHIES AND ETHNOMUSXCOLOGICAL ACCOUNTS.13 A DEFINITION OF WORK (AND-PLAY)....................... .17 . THE INFORMA~S..... .\. ...........................:. .. .23 mHODOLOGY. ...........................................d 24 * RESEARCH PROCEDURES. ........, .,......... , .......*.......27 . SUMMARYI......................~.......................'3l'. CHAPTER 2 "GETTING INTO THE BUSINESS" LEARNING THE MUSICIANLY ROLE ............................34 RECRUX_TMElEOF3Tk@LES-L,, . t , . , a . , . .-,. :. 0 . N!! FAMILIAL INFLUENCE ..................................../ 38 P-EER GROUP INFLuENCE........,.........................45 EDUdkTIONAt SYSTEM INFLUmCE.. .........................SO FIRST INSTRUMENTS.......mi....m.....'.e~......o.......wS6 CHAPTER 3 "GETTING GIGS" THE PER&TUAL WHEEL OF MISFORTUNE.......... ...........60 . STARTING DEALING WITH AGENTS ......................66 MISPLACED LOSALTIES.................................... 71 THE AGENTsS VIEW 4- STUCK IN THE MIDDLE. ...............74 'SELF-BOOKING..J.. ......................................81 LSE CONTROL - FMAGINARY CONTRACTS ...................86 CHAP?f" ER' 4 "GETTING TO GIGS" 6 ON THE ROAD AGAIN AND AGAIN .........................t.89 ^ P~~EPARATION..........................S........;........ 90 TRAVEL...... ...........................................9 6 CHAPTER -5' "G TING TMROUGH GIGS" MAKINb--Y HE MAGIC HAPPEN...;.......... ................103 THE D~NAMICSOF S~ORMANCE- ....................,..... 106 MUSIC ..........................................;.....111 LOOKING FOR THE FRIENDLIEST FACE.. ................-115 UNDER THE AFFLUENCE OF INCOHOL............- ...........119 QETTING ON IN THE"W0RKPLACE........................ 1.122