Abstract
Careers of professional musicians are unique and their development cannot be fully generalized, as shown by interviews with instrument players and singers of classical music and musical in Slovakia. Their careers do not include all standard career stages; only three of them were identified in all respondents: preparation (tied with music education), active playing (associated with growth, peaks, crises, decrease) and career fading/extinction. The time limits of these stages cannot be set, as they considerably differ. Majority of musicians claim to overcome a professional crisis. A common feature of all respondents' careers is music teaching job at a certain point in their own careers.
Highlights
Performing musicians, professionals who seem to be always prepared to give excellent performances, who are expected to mediate the music to the audience at the top level, who give impression of dedicated people to art, who might have a reputation of eccentric individuals with their peculiarities
A professional career is a broader concept. It can be developed independently of the institution or organization in which the individual works. (Wieglerová, 2017, p. 10) In our study, we focus on professional careers, because a number of musicians are freelancers not employed in institutions, and they cannot climb the career ladder in the sense of getting higher positions in one organization
We point on some that are linked directly to music and to some, that were created in connection to teaching profession
Summary
Performing musicians, professionals who seem to be always prepared to give excellent performances, who are expected to mediate the music to the audience at the top level, who give impression of dedicated people to art, who might have a reputation of eccentric individuals with their peculiarities. Musicianswork should be reflected in their careers that are – as musicians themselves – very specific and original Their career growth can only be estimated based on subjective criteria; and financial award frequently does not match their performance level, abilities and preparation. The majority of scientific papers and articles focus on various problems, such as playing related musculoskeletal disorders, health problems among musicians, coping with stage fright and anxiety linked to performance, effective practice strategies, musical talent etc., but only few of them pay partial attention to the career development from the ontogenetic point of view.
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