Editing Persona (section)

=== The concept of musical personae ===
The concept of personae in music was introduced by [[Edward T. Cone]] in his ''[[The Composer's Voice]]'' (1974), which dealt with the relation between the lyrical self of a song's lyrics and its composer.<ref>Deborah Stein and Robert Spillman, ''[[iarchive:poetryintosongpe0000stei|Poetry Into Song: Performance and Analysis of Lieder]]'' (Oxford University Press US, 2010), p.235. {{ISBN|0-19-975430-6}}</ref> Performance studies scholar Philip Auslander includes further contextual frames, in which musical persona is the primary product of musical performances apart from the original text.<ref>{{Cite journal |last=Auslander |first=Philip |date=2006 |title=Musical Personae |url=https://www.jstor.org/stable/4492661 |journal=TDR (1988-) |volume=50 |issue=1 |pages=100–119 |doi=10.1162/dram.2006.50.1.100 |jstor=4492661 |s2cid=57563345 |issn=1054-2043}}</ref> Auslander argues that music is a primary social frame as a "principle of organization which govern events."<ref>{{Cite book |last=Goffman |first=Erving |url=https://www.worldcat.org/oclc/1175799 |title=Frame analysis : an essay on the organization of experience |date=1974 |isbn=0-06-090372-4 |location=New York |pages=10 |oclc=1175799}}</ref> In addition, he categorizes three types of personae transformation: lateral moves within the same frame at a given moment; movements from one frame to another; and within a single frame that changes over time and hypothesizes that personae transformation could only happen when the genre framing changes. As a strategic formation of public identity in communities, musical personae describe how music moves through cultures.<ref>{{Cite journal |last1=Fairchild |first1=Charles |last2=Marshall |first2=P. David |date=2019-07-11 |title=Music and Persona: An Introduction |url=https://ojs.deakin.edu.au/index.php/ps/article/view/856 |journal=Persona Studies |language=en |volume=5 |issue=1 |pages=9 |doi=10.21153/psj2019vol5no1art856 |issn=2205-5258|hdl=10536/DRO/DU:30128841 |s2cid=199177465 |hdl-access=free }}</ref> Persona maintains stability of performance with the expectation from the audience matching in musical presentation.<ref>{{Cite journal |last1=Fairchild |first1=Charles |last2=Marshall |first2=P. David |date=2019-07-11 |title=Music and Persona: An Introduction |url=https://ojs.deakin.edu.au/index.php/ps/article/view/856 |journal=Persona Studies |language=en |volume=5 |issue=1 |pages=4 |doi=10.21153/psj2019vol5no1art856 |issn=2205-5258|hdl=10536/DRO/DU:30128841 |s2cid=199177465 |hdl-access=free }}</ref>

The concept of persona can also be used to refer to an [[instrumentalist]], like a pianist and their playing style,<ref>Deborah Stein and Robert Spillman, p.106.</ref> although the term is more commonly used to refer to the voice and performance nuances of a vocalist in a studio album or in a live concert. In online spaces where personae are more visible, musical personae can be created through the flexible and fluid virtual bodies of avatars.<ref>{{cite book |author1-last=Harvey |author1-first=Trevor S. |editor1-last=Whiteley |editor1-first=Sheila |editor2-last=Rambarran |editor2-first=Shara |chapter=Avatar Rockstars |title=The Oxford Handbook of Music and Virtuality |date=2016 |pages=171–190 |doi=10.1093/oxfordhb/9780199321285.013.1 |publisher=Oxford University Press |location=Oxford |language=en |isbn=9780199321285}}</ref>

Usually, the performers assume a role that matches the music they sing on [[Stage (theatre)|stage]], though they may also be composers. Many performers make use of a persona. Some artists create various characters, especially if their career is long and they go through many changes over time.<ref>{{Cite book |last=Rambarran |first=Shara |url=https://www.bloomsbury.com/uk/virtual-music-9781501336379/ |title=Virtual Music: Sound, Music, and Image in the Digital Era |date= |publisher=Bloomsbury |year=2021 |isbn=978-1-5013-3637-9 |location=New York |chapter="Living in a Fantasy": Performers and Identity.}}</ref> For example, [[David Bowie]] initially adopted a role as alien messenger [[Ziggy Stardust (character)|Ziggy Stardust]], and later as [[The Thin White Duke]].<ref>James E. Perone, ''The words and music of David Bowie'' (Greenwood Publishing Group, 2007), ppp. 39, 51, and 108. {{ISBN|0-275-99245-4}}</ref> More than just artistic [[pseudonym]]s, the personae are independent characters used in the artist's shows and albums (in this example, ''[[The Rise and Fall of Ziggy Stardust and the Spiders from Mars]]'' and ''[[Station to Station]]''). However, in music, a persona does not always mean a change. Some authors have noted that [[Bob Dylan]]'s charisma is due largely to his almost stereotyped image, always with a [[harmonica]], [[guitar]], and with his distinctive hair, nasal voice, and clothing.<ref>Paul Williams, ''[[iarchive:bobdylanperformi0000will y7u0|Bob Dylan: performing artist 1986-1990 & beyond : mind out of time]]'' (Omnibus Press, 2004),  p.229. {{ISBN|1-84449-281-8}}</ref> The persona also serves to claim a right or to draw attention to a certain subject. That is the case of [[Marilyn Manson]] and his interest in death and [[morbidity]], and [[Madonna]] and her interest in sexuality.<ref>Bhesham R. Sharma, ''[[iarchive:deathofart0000shar|The death of art]]'' (University Press of America, 2006), p.14. {{ISBN|0-7618-3466-4}}</ref>