Dissertations / Theses on the topic 'Popular music Indonesia History and criticism'
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Papanikolaou, Dimitris. "Singing poets : literature and popular music in France and Greece /." London : Legenda, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=016510046&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.
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Lau, Man-chun, and 劉文俊. "A study of Hong Kong popular music industry (1930-2000)." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B4389608X.
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Ross, Gordon. "Popular music analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.
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Linekin, Kim. "The modern popular song as a literary art form." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.
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West, Aaron J. "Caught Between Jazz and Pop: The Contested Origins, Criticism, Performance Practice, and Reception of Smooth Jazz." Thesis, connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9722.
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Powell, Steven. "Dread rites : an account of Rastafarian music and ritual process in popular culture." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=55647.
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Keightley, Keir. "The history and exegesis of pop : reading "All summer long"." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22458.
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The study of popular music has experienced an astonishing growth in the past two and a half decades; however, the detailed analysis of musical texts has lagged far behind other areas, such as the sociology of the youth audience and analysis of the visual components of music video. This thesis undertakes a survey of recent approaches to popular music at the textual level, before examining the construction of an individual song, the Beach Boys' 1964 recording of "All Summer Long". While many parameters affecting the creation of the cultural significance of the text in question are discussed, ultimately the exegesis serves to problematize larger issues in scholarly work on popular music, particularly the dominance of the paradigms of rupture, rebellion, and authenticity in relation to the historiography and criticism of the formation known as "rock".
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Ng, Pong-wai Brenda, and 吳邦瑋. "The development in Hong Kong of commercial popular songs in Cantonese." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31213522.
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胡又天. "華語流行歌詞的演變= The development of Chinese popular song lyrics (1970-2013) /胡又天." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/343.
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19世紀下半葉，留聲機的發明與唱片產業的崛起，大幅催化了世界各地音樂與文化的交流，隨之而興的流行歌曲也自然成為了無數歷史信息、群體情感與個人記憶的載體；雖或因族群、階級、學派中的各種歧見而初未能得到公正評價，但到多元思想起而與商業邏輯拮抗的1990年代以降，從大眾、文壇到學界，已有愈來愈多人肯認了流行歌曲在文學、音樂與社會等各方面的研究意義與價值，有關華語流行歌曲的研究，亦形成了一個新興的學術領域，本論文即為其中一環。本文緒論首先針對既有論著，提出以「文學、音樂、社會」三面與「知識、技能、情感」三向為之分類，述評其方法成果。其次，採取文學面、技能向的立場，在研究方法上，提出「以作品所預設之目的來評判作品」及「以『合樂』的考量探討辭章、聲韻」的原則，並且說明了華語歌曲所固有的聲韻問題，提出裨益實際創作的研究主張，而不僅將流行歌曲作為某學科議題的資料。正文則以傳統文學「知人閱世」的進路，採詞話形式，在1970-2013年台灣的國語流行歌詞之中，選錄特別流行、創新，或能代表時勢演變之作，介紹其背景、主旨與流傳情形，分析其觀念、技法與影響，以貢獻於當代中文世界「流行詞學」典律的建立，俾讀者從中建起一個大概的演變圖景 = The invention of gramophone records and the rise of music industry in late 19th century have greatly catalyzed the global interaction of cultures, and subsequently contributed to the emergence of pop songs. However, owing to various ethnical, class and academic differences in various cultures, the importance of pop songs as carriers of historical data, collective sentiments and personal memories has not been adequately appreciated. Only in recent years have the musical, sociological, and cultural significance of critical research in pop songs and lyrics gained wider recognition among academics, intelligentsia, and mass consumers.Born in the confluence of political intervention, social stereotypes and commercial interests in the Shanghai International Settlement since 1927, Chinese Pop songs had produced lasting classics and fading stars with ebbs and flows of historical personages and political dynasties. More studies were made amid the antagonism between commercial logic and cultural pluralism during the 1990s. A new academic field was thus brought into being. This dissertation is meant to provide a critical link in this field. The dissertation introduces a framework to analyze Chinese Pop songs in three dimensions: literary, musical, and social, as well as the involved three aspects : knowledge, skills, and emotions. Relevant writings and discourses are categorized, with their methods described and their achievements commented upon. It then considers the aspect of skills within the literary dimension by following the methodology of traditional lyrics studies, and expands beyond its pure academic critique of creative writings to the principles of generating creative writings. This framework is then used as a basis to analyze the evolution of concepts and techniques in the creation of Chinese Pop songs. This dissertation aims at providing researchers and writers a set of flexible methods to comprehend and utilize the creative enterprise from an objective vantage point.
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DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.
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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.
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White, Bob Whitman. "Modernity's spiral : popular culture, mastery, and the politics of dance music in Congo-Kinshasa." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0020/NQ44627.pdf.
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Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.
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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.
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Polychronakis, Ioannis. "Song odyssey : negotiating identities in Greek popular music." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669839.
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莫沉. "媒介. 現代性. 粉絲: 香港流行樂在中國內地的研究 (1992-2015)= Media, modernity, fandom: a study of Hong Kong popular music in mainland China (1992-2015)." HKBU Institutional Repository, 2017. https://repository.hkbu.edu.hk/etd_oa/342.
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The influence of Hong Kong popular music, or Cantonese songs, has reached its peak in the 1980s. However, since late 1990s, along with the emergence of a series of historical events, such as the return of Hong Kong to China in 1997, the breakout of financial crisis, and China’s accession to WTO, Hong Kong’s music industry encountered many adverse situations, such as the sharp drop in record sales, and the stagnation of star creation mechanism. As a consequence, many people believed that Hong Kong popular music had “died”. This study investigates the development of Hong Kong popular music in Chinese mainland since 1992 with the research methods of text interpretation, audience analysis, and participant observation by placing Hong Kong popular music in the contexts of China’s official ideology, popular culture industry, mass media and new media. It points out that Hong Kong popular music has demonstrated complex features involving compromise and conflict, unity and split, repression and resistance, while participating in the construction of the identity of “Great China”, the propagation of urban modernity and the production of heterogeneous “noises”. To reveal the complexity of these features, this study analyzes the songs, performances and fans activities of four major Hong Kong popular music figures—— Andy Lau, Faye Wong, Eason Chan and Anthony Wong. During 1990s, when the official media was the mainstream propagation channel, Hong Kong singers could only realize their commercial interests by first participating in the construction of the identity of “Great China”. In Hong Kong’s handover ceremony, Andy Lau performed the song “Chinese People” and sang folk songs with Cantonese lyrics. These performances clearly show how the highly-mature Hong Kong idol industry flexibly used the localization strategy to win the mainland market. Faye Wong and her creative group demonstrate the advantages of the modern urban language: the globalized human resources, the diversified musical styles and the collaged post-modern images; they interprets what the concepts of “urbanity”, “modernity” and “personality” are. Since the new millennium, the popularity of Internet greatly shocks the dominance of official discourse, and the development of market economy brings tremendous opportunities for the public to appreciate, consume and evaluate Hong Kong popular music. Meanwhile, the fans culture has been gradually flourishing. During this period, Eason Chan, relying on a large number of non-love songs and superb live performances, obtains great business success, but keeps a distance away from the aesthetic attitude of “Great China”. Such self-consciousness is spread in the new media era when singers like “Anthony Wong” produce heterogeneous “noises” with cross-regional, cross-media, mainstream and independent styles. These styles are neither “mainland songs” nor individualism; they reveal the non-commercial facet of Hong Kong popular music. This study argues that it is inadequate to judge the rise and fall of Hong Kong popular music if only focusing on its commercial success. The hybridity of Hong Kong popular music should be discussed in specific social and cultural contexts. This study suggests that Hong Kong popular music is not only a leader of the modern urban culture, but also a main force of constructing “Chinese identity”. When the commercial myth disappears, the alternative side of Hong Kong popular music, characterized by questioning, reflection and criticism, becomes prominent. This kind of trend not only creates new connections for the independent music in mainland, but also provides a historic opportunity for the reconstruction of Hong Kong identity = 香港流行音樂，或稱粵語歌的影響力，曾在上世紀八十年代達到頂峰。然而，在一九九零年代後期，伴隨著九七回歸、金融危機、內地加入WTO組織等歷史事件的推進，香港音樂產業出現了唱片銷量銳減，明星魅力減退，造星機制更新遲滯等不良現狀，導致人們認為，香港流行樂風光不再，「粵語歌已死」。本文將以1992年至今在中國內地的香港流行樂作為研究對象，採用文本解讀、受眾分析、參與式觀察等研究方法，將香港流行樂置於中國內地的官方意識形態、流行文化產業、大眾媒介以及新媒體等多重分析語境之中，指出香港流行樂在參與「大中國」身份建構、傳播都市現代性、發出異質「噪音」等方面，呈現出妥協與衝突、同一與分裂、壓制與抵抗的複雜面貌。為了展開這一面貌的複雜性，文章主體將通過對四位重要的香港流行樂人物——劉德華、王菲、陳奕迅、黃耀明——他們的歌曲、表演、歌迷活動等進行論述。在官方媒介為主流傳播途徑的一九九零年代，香港歌手的商業利益，首先需要參與「大中華」的同一性身份建構才可實現。劉德華在九七回歸慶典中唱響「中國人」，以及對粵語填詞的民歌演繹，無一不彰顯高度成熟的香港偶像工業，如何靈活運用「在地化」策略來贏得內地市場。而王菲及相關的創意團體，則體現了都市現代性語言的優勢：全球化的人力資源、多變的音樂風格、拼貼的後現代影像，書寫出何為「都市」、「摩登」、「個性」等概念。踏入新千年，互聯網的普及動搖了官方話語的壟斷地位，市場經濟的發展為人們聆聽、消費、評價香港流行樂帶來了更多可能，歌迷文化也隨之逐漸興盛。在這一時期，陳奕迅憑藉大量的非情歌和精湛的現場演出，在贏得商業成功的同時，卻跟「大國崛起」的音樂審美態度保持了距離。這一疏離的自我意識在新媒體時代得以散播——「黃耀明們」在跨地域、跨媒介、主流與獨立風格之間發出異質噪音，這種既不是「大路情歌」，也並非個人主義的成功歌頌，展現出香港流行樂非商業性的另類一面。本文認為，由單一的商業成功與否，來評判香港流行樂的興衰是遠遠不夠的，而香港流行樂的混雜多元性也需要放置於特定的社會文化語境中才具備意義。經過論證，香港流行樂既是都市現代文化的引領者，也是「中國人」身份建構的中堅力量之一。但當商業神話消失之際，香港流行樂中質疑、反思、批判的另類一面得以凸顯，這一趨勢不僅為內地獨立音樂創造新的聯結，也為香港重構本土身份提供了歷史契機。
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Chen, Szu-Wei. "The music industry and popular song in 1930s and 1940s Shanghai : a historical and stylistic analysis." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/202.
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In 1930s and 1940s Shanghai, musicians and artists from different cultures and varied backgrounds joined and made the golden age of Shanghai popular song which suggests the beginnings of Chinese popular music in modern times. However, Shanghai popular song has long been neglected in most works about the modern history of Chinese music and remains an unexplored area in Shanghai studies. This study aims to reconstruct a historical view of the Shanghai popular music industry and make a stylistic analysis of its musical products. The research is undertaken at two levels: first, understanding the operating mechanism of the ‘platform’ and second, investigating the components of the ‘products’. By contrasting the hypothetical flowchart of the Shanghai popular music industry, details of the producing, selling and consuming processes are retrieved from various historical sources to reconstruct the industry platform. Through the first level of research, it is found that the rising new media and the flourishing entertainment industry profoundly influenced the development of Shanghai popular song. In addition, social and political changes and changes in business practices and the organisational structure of foreign record companies also contributed to the vast production, popularity and commercial success of Shanghai popular song. From the composition-performance view of song creation, the second level of research reveals that Chinese and Western musical elements both existed in the musical products. The Chinese vocal technique, Western bel canto and instruments from both musical traditions were all found in historical recordings. When ignoring the distinctive nature of pentatonicism but treating Chinese melodies as those on Western scales, Chinese-style tunes could be easily accompanied by chordal harmony. However, the Chinese heterophonic feature was lost in the Western accompaniment texture. Moreover, it is also found that the traditional rules governing the relationship between words and the melody was dismissed in Shanghai popular songwriting. The findings of this study fill in the neglected part in modern history of Chinese music and add to the literature on the under-explored musical area in Shanghai studies. Moreover, this study also demonstrates that against a map illustrating how musical products moved from record companies to consumers along with all other involved participants, the history of popular music can be rediscovered systematically by using songs as evidence, treating media material carefully and tracking down archives and surviving participants.
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Drewett, Michael. "An analysis of the censorship of popular music within the context of cultural struggle in South Africa during the 1980s." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1007098.
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The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.
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Burns, Robert, and n/a. "Transforming folk : innovation and tradition in English folk-rock music." University of Otago. Department of Music, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080701.132922.
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From a mixed methodology perspective that includes ethnology, musicology and cultural anthropology, I argue that, despite initial detachment from folk revivalism, English folk-rock has moved closer to aspects of tradition and historical status and has embraced a revivalist stance similar to that of the folk revivals that occurred earlier in the twentieth century. Whereas revivalism often rejects manifestations of mass culture and modernity, I also argue that the early combinations of folk music and rock music demonstrated that aspects of preservation and commercialisation have always co-existed within this hybrid musical style. English folk-rock, a former progressive rock music style, has emerged in the post-punk era as a world music style that appeals to a broad spectrum of music fans and this audience does not regard issues such as maintenance of authenticity and tradition as key factors in the preservation process.
Rock music has remained a stimulus for further change in folk music and has enabled English folk-rock to become regarded as popular music by a new audience with diverse musical tastes. When folk music was adapted into rock settings, the result represented a particular identity for folk music at that time. In a similar way, as folk music continues to be amalgamated with rock and other popular music styles, or is performed in musical settings representing new cultures and ethnicities now present in the United Kingdom, it becomes updated and relevant to new audiences. From this perspective, I propose that growth in the popularity of British folk music since the early 1970s can be linked to its performance as English folk-rock, to its connections with culture and music industry marketing and promotion techniques, and to its inclusion as a 1990s festival component presented to audiences as part of what is promoted as world music. Popularity of folk music presented at world music festivals has stimulated significant growth in folk music audiences since the mid-1990s and consequently the UK is experiencing a new phase of revivalism - the third folk revival.
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Fu, Lok-yi Alice, and 傅樂怡. "Contemporary Cantopop: reception of crossovermusic in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39634334.
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Bozelka, Kevin John. ""Getting beyond" : SPIN magazine in the late 1980s." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=82688.
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The Eighties were a time in Western popular music that seemed to exist only by virtue of it coming after something else---namely, the 1960s counterculture and the punk rock of the 1970s. Inheriting both the failure of permanent cultural revolution and the intense cynicism that is punk's strongest legacy, youth cultures in the 1980s found it increasingly difficult to live in the present. This thesis labels this historical dilemma postmodern. It will show how SPIN magazine attempted to move past this dilemma in order to assert a unique identity for 1980s popular music and youth cultures. In particular, John Leland, a columnist for SPIN, appropriated a pop aesthetic as an identity marker and, in the process, questioned the supposed ineffectiveness of pop music for a political postmodernism. An analysis of Leland's writing uncovers what accounts of this era tend to ignore: the social function of postmodernism.
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Kearney, Meghan Andrea. "Every Town Is All the Same When You've Left Your Heart in the Portland Rain: Representations of Portland Place and Local Identity in Portland Popular Lyrics." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1489.
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This study looks at how place and local identity of Portland are described within music lyrics from Portland, Oregon popular indie-rock artists. Employing a constant comparative analysis on a set of 1,201 songs from 21 different popular Portland indie-rock artists, the themes of landscapes and climate were found to represent place, and themes of lifestyles and attitudes represented local identity. Reviewing the uncovered themes showed a strong connection between representations of place and local identity within lyrics and common stereotypes or understandings of the city of Portland and its indie-rock music scene. The results of this study illustrate how place and local identity are communicated through popular but locally-tied music lyrics and how these lyrics may describe cities.
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Simonot, Colette Patricia. "Performing identities who is 'Hart-Rouge'? /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22876.pdf.
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Trani, Maria. "La poesia di E.A. Mario /." Thesis, McGill University, 1992. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=68141.
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The present work examines the poetry in neapolitan language and particularly the works of E. A. Mario, fin de siecle poet and melody writer, who contributed considerably to the song history.The first part introduces us to the neapolitan regional poetry as well as to its language to finally conclude with the poetry set to music: the song. The ideal atmosphere is the cafe-chantant. The poets of the time including Salvatore Di Giacomo and the generation after are surveyed.
The second part deals with the author. It describes his life, his art and his works, rich of popular and especially classical elements, which crowned him with success.
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Gavito, Cory Michael. "Carlo Milanuzzi's Quarto scherzo and the climate of Venetian popular music in the 1620s." Thesis, view full-text document, 2001. http://www.library.unt.edu/theses/open/20012/gavito%5Fcory/index.htm.
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Wong, Jum-sum James, and 黃湛森. "The rise and decline of cantopop." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B31057330.
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Vicente, Rodrigo Aparecido 1986. "Música em Surdina : sonoridade e escutas nos anos 1950." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285208.
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Orientador: José Roberto ZanTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A década de 1950 é um dos momentos-chave da história da música popular brasileira. Nesse período, diferentes ramos da incipiente indústria cultural se modernizam e começam a se articular de modo mais orgânico. Além disso, recrudesce a segmentação da produção musical, formando-se audiências específicas para cada gênero e estilo em circulação nos principais meios de comunicação. É nesse contexto que surge o Trio Surdina, conjunto ligado num primeiro instante a um programa de rádio que tencionava reproduzir a sonoridade e o ambiente intimista das pequenas boates que então proliferavam na zona sul do Rio de Janeiro. Sua produção se insere na chamada era da "Alta Fidelidade" - tradução literal de High-Fidelity, mais conhecida pela abreviação Hi-Fi -, um momento marcado pela introdução de novos suportes, equipamentos e técnicas de gravação no âmbito da indústria fonográfica. A partir do estudo dos elementos e procedimentos constituintes das performances registradas nos LPs do Trio Surdina, este trabalho investiga em que medida a sonoridade do conjunto informa a existência de uma nova sensibilidade auditiva, de um novo "ouvido social" que se configura entre as décadas de 1940 e 1950, ligado no caso a uma fração da classe média que esteve no centro da vida sociocultural da zona sul carioca. Conforme indicam os discursos da época, certos agentes sociais estavam em busca de um tipo de música mais intimista, "moderna" e de "bom gosto", pautada pela economia de elementos, pelo tratamento "suave" e por uma "técnica aprimorada" de interpretação. A sonoridade concebida pelo Trio Surdina parecia corresponder a tais expectativas, destacando-se no segmento dos chamados "conjuntos de boîte". Em síntese, procurou-se compreender de que modo as obras musicais traduzem e condensam em suas estruturas experiências estéticas, sociais e históricas mais amplas. Nessa direção, destacou-se, ao mesmo tempo, o conteúdo propriamente original e específico da produção do Trio Surdina, isto é, aquilo que, nas músicas, escapa tanto aos padrões e convenções de estilo, quanto aos valores e juízos intrínsecos aos discursos do seu tempo, permanecendo em estado de potência como possibilidades expressivas elaboradas a partir da linguagem da música instrumental
Abstract: The 1950s are one of the key moments in the history of Brazilian popular music. At that time, different branches of the incipient cultural industry modernize and begin to articulate in a more organic way. Moreover, there is an increased segmentation of music production, emerging specific audiences for each style in the main media. It is in that context that is formed Trio Surdina, a musical group associated initially to a radio program that intended to reproduce the sonority and the atmosphere of small nightclubs which then proliferated in the southern area of Rio de Janeiro. The group¿s production is closely associated with an innovation of the recording industry at that time, the "High Fidelity", better known by the abbreviation "Hi-Fi". From the formal study of the Trio Surdina¿s work, this thesis investigates how the sonority of this musical group reflects a new "social listening", which seems to emerge between the 1940s and the 1950s linked to a fraction of the middle class that was in the center of social and cultural life of the southern area of Rio de Janeiro. As indicated by discourses of that time, certain social agents were looking for a kind of more intimate, "modern" and "tasteful" music, characterized by the economy of elements, "soft" treatment and a "refined technique" of interpretation. The sonority conceived by Trio Surdina seemed to correspond to such expectations, especially in the segment of the so-called "boîte groups." In short, this research aims to understand how the music of Trio Surdina translates and condenses into its structures aesthetics, social and historical experiences. At the same time, we emphasize the original and specific content of the production of Trio Surdina; in other words, the content that goes beyond the standards and stylistic conventions, as well as the intrinsic values and judgments to the discourses of that time, remaining as potential expressive possibilities elaborated from instrumental music¿s language
Doutorado
Música, Teoria, Criação e Prática
Doutor em Música
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Silva, Evandro Rodrigues da. "Ouvidos abertos: a oralidade, a escrita e a canção." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-02042015-112400/.
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Observar as múltiplas relações entre a oralidade, a escrita e a canção popular brasileira são o objetivo deste trabalho. O que na canção seria atributo da cultura escrita? O que seria reverberação da tradição oral? Os estudos sobre a oralidade, a história da escrita e da leitura articulam-se à análise de fonogramas diversos, de diferentes momentos da história da canção brasileira. Oralidade, escrita, música e poesia compreendidos como campos distintos que, no corpo da canção, interpenetram-se, indiferentes a quaisquer hierarquias. A canção popular é, concomitantemente, compreendida como fenômeno musical, poético e cultural. Tratamos de pensar a canção como gênero e, de alguma forma, pensar seu lugar social (suas origens e transformações, suas relações com os mass media, sua capacidade de adaptar-se às mudanças de paradigmas de produção e recepção e o caráter dadivoso de sua economia). A voz, a palavra cantada, os corpos de quem canta e de quem ouve, os meios materiais de produção, difusão e fruição, constituem um sistema de trocas simbólicas, determinante para a conformação de um gênero específico (híbrido, poético-musical, que é a canção) que se configurou como principal vetor de representação de múltiplas sociabilidades e, não raro, promotor de uma aproximação reflexiva sobre as mesmas. Propomos, portanto, um exercício teórico que conjugue, de alguma maneira, o estudo da forma pela qual as canções se dizem ao que dizem sobre nós as canções.This work aims at observing the multiple relationships between orality, writing and popular songs. How much of song writing is attributable to written culture? How much of it is a reverberation of oral tradition? Studies about orality, the history of writing and reading are articulated with the analysis of different phonograms, from different moments in the history of the Brazilian song. Orality, writing, music and poetry, understood as distinct fields that, in the body of the song, interpenetrate each other, indifferent to hierarchy. Popular song can be simultaneously understood as a musical, poetic and cultural phenomenon. Our endeavor here is to treat the song as a genre and, somehow, to reflect upon its social place (its origins and transformations, its relationships with mass media, its ability to adapt to paradigm shifts of production and reception and the generous/bountiful/giving character of its economy. The voice, the word being sung, the bodies of those who sing and of those who listen, the material means of production, diffusion and appreciation constitute a system of symbolic exchanges, which is determining in the conformity of a specific genre (the hybrid, poetic-musicalone which the song is) which became the main vector of representation of multiple sociabilities and, not rarely, a promoter of a reflexive approximation between them. What we propose, then, is a theoretical exercise which is able to connect, in some manner, the study of the form through which these songs enunciate themselves to what these songs say about ourselves.
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Fung, Wai-man Iris, and 馮慧敏. "The use of English in canto-pop songs in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2684333X.
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Scannell, John School of Media Film & Theatre UNSW. "James Brown: apprehending a minor temporality." Awarded by:University of New South Wales. School of Media, Film and Theatre, 2006. http://handle.unsw.edu.au/1959.4/26955.
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This thesis is concerned with popular music's working of time. It takes the experience of time as crucial to the negotiation of social, political or, more simply, existential, conditions. The key example analysed is the funk style invented by legendary musician James Brown. I argue that James Brown's funk might be understood as an apprehension of a minor temporality or the musical expression of a particular form of negotiation of time by a minor culture. Precursors to this idea are found in the literature of the stream of consciousness style and, more significantly for this thesis, in the work of philosopher Gilles Deleuze on the cinema in his books Cinema 1: The Movement-Image and Cinema 2: The Time-Image. These examples are all concerned with the indeterminate unfolding of lived time and where the reality of temporal indeterminacy will take precedence over the more linear conventions of traditional narrative. Deleuze???s Cinema books account for such a shift in emphasis from the narrative depiction of movement through time the movement-image to a more direct experience of the temporal the time-image, and I will trace a similar shift in the history of popular music. For Deleuze, the change in the relation of images to time is catalysed by the intolerable events of World War II. In this thesis, the evolution of funk will be seen to reflect the existential change experienced by a generation of African-Americans in the wake of the civil-rights movement. The funk groove associated with the music of James Brown is discussed as an aesthetic strategy that responds to the existential conditions that grew out of the often perceived failure of the civil rights movement in the 1960s. Funk provided an aesthetic strategy that allowed for the constitution of a minor temporality, involving a series of temporal negotiations that eschew more hegemonic, common sense, compositions of time and space. This has implications for the understanding of much of the popular music that has followed funk. I argue that the understanding of the emergence of funk, and of the contemporary electronic dance music styles which followed, would be enhanced by taking this ontological consideration of the experiential time of minorities into account. I will argue that funk and the electronic dance musics that followed might be seen as articulations of minority expression, where the time-image style of their musical compositions reflect the post-soul eschewing of a narratively driven, common sense view of historical time.
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Brain, Tyler James. "Examining the Portland Music Scene through Neo-localism." PDXScholar, 2011. https://pdxscholar.library.pdx.edu/open_access_etds/314.
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This study explores the Portland music scene as a context in which local identity is constructed and communicated in a globalized world. Specifically, neo-localism is utilized as a theoretical lens through which the impacts of globalization were explored. Portland bands (n=8) were interviewed concerning their experiences in the local music scene. The results showed that participants conceptualized local identity as being 1) based in community, 2) culturally saturated and 3) connected to musical production. Further, results showed that participants were increasingly aware of this local identity, were aware of a global perception of this local identity and were aware of other local identities. Overall the results from this study support neo-localism as a useful conceptual lens for understanding local identity for Portland bands.
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Klopper, Annie Elizabeth. "Die opkoms van Afrikaanse rock en die literêre status van lirieke, met spesifieke verwysing na Fokofpolisiekar." Thesis, Stellenbosch : University of Stellenbosch, 2009. http://hdl.handle.net/10019.1/2201.
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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2009.The aim of this study is to examine the rise of Afrikaans rock music and the literary status of Afrikaans rock lyrics, with Fokofpolisiekar as example. An investigation is done into how the specific sociopolitical context within which Afrikaans rock music developed manifests in lyrics and musical style. The implications of Afrikaans rock with regards to the identity of Afrikaner youth in the new millennium are also explored. A case study of the Afrikaans punk rock group Fokofpolisiekar is done by way of demonstration of this interdisciplinary and contextual investigation. Not only the formation and impact of the group are examined, but a considerable section of the thesis is dedicated to the analysis and interpretation of this group’s lyrics, which are viewed and explored from a literary point of view. In this process certain questions regarding the position of lyrics in the Afrikaans literary system comes under scrutiny. The analysis and interpretation of the lyrics of Fokofpolisiekar are therefore aimed towards examining the literary status of this group’s lyrics. It will be proved that the sociopolitical context within which Fokofpolisiekar’s lyrics came to be formulated, impacted on the character and themes thereof. The thematic struggle with issues like liberation (redemption) and identity in the lyrics are shown to bear relation to the sociopolitical context of the Afrikaner youth after the Afrikaner’s loss of power in 1994 and the postmodern condition at the turn of the millennium. This postmodern condition is characterized by the continuing fragmentation of identity. The conclusion is made that Afrikaans popular music sets up a space within which new ideas with regards to ‘truths’ of identity can be formulated. In other words, the punk rock music of Fokofpolisiekar offers an opportunity for the re-articulation of Afrikaner identity. By incorporating the polysistem theory (and other relevant theories) in investigating the creation and reception of Fokofpolisiekar’s lyrics, it is shown that the Afrikaans literary system holds a place for Afrikaans lyrics. Although similar, lyrics should not be regarded as synonymous to poetry. Seeing that the creation and reception thereof differs from that of other literary forms, I argue that lyrics are lyrics and should be regarded as such in order for it to come to its full right in literary study.
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Templeton, Inez H. "What's so German about it? : cultural identity in the Berlin hip hop scene." Thesis, University of Stirling, 2006. http://hdl.handle.net/1893/75.
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Literature on the appropriation of hip hop culture outside of the United States maintains that hip hop engenders local interpretations no longer reliant on African-American origins, and this research project is an attempt to determine the extent to which this is the case in a specific local context. My thesis is an effort to move beyond the rhetoric of much of what constitutes the debates surrounding globalisation, by employing a research strategy combining theoretical analysis and direct engagement with the Berlin hip hop scene. My project not only aims to uncover the meanings young people in Berlin give to their hip hop practices, but intends to do so within a framework that does not ignore the discursive spaces in which these young people are operating. This is particularly relevant because of the complex ways in which race and ethnicity are related to German national identity. Furthermore, this thesis is concerned with the ways in which the spaces and places collectively known as Berlin shape the cultural practices found there. While hip hop belongs to global culture, it is also the case that the city of Berlin plays a significant role in determining how hip hop is understood and reproduced by young people there.
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勞婉莎. "粵語流行曲詞研究 = The study of lyric of Cantonese popular song." Thesis, University of Macau, 2004. http://umaclib3.umac.mo/record=b1636194.
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Bádue, Filho Nataniel Marcos 1986. "A excursão artística Villa-Lobos pelo interior do Estado de São Paulo em 1931 /." São Paulo, 2013. http://hdl.handle.net/11449/95158.
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Orientador: Yara Borges CáznokCoorientador: Lia Vera Tomás
Banca: Lutero Rodrigues da Silva
Banca: Paulo de Tarso Salles
Resumo: A década de 1930 foi marcada por muitos confrontos provenientes da política do Estado Novo, implantada por Getúlio Vargas. Em meio a essas tensões, tendo São Paulo como foco principal das atenções do, então, Governo, encontrava-se a figura do compositor Villa-Lobos em busca de um espaço para seus projetos musicais. O primeiro Projeto que lhe foi concedido, por intermédio do interventor do Estado de São Paulo, João Alberto Lins de Barros, intitulado Excursão Artística Villa-Lobos, marcou no ano de 1931, uma nova etapa na vida de Villa-Lobos, voltado, também, para a educação musical. A Excursão proporcionou uma vivência artística única para diversas cidades interioranas, por meio de uma série de concertos de cunho didático, nos quais Villa-Lobos se apresentava com outros notáveis artistas e fazia, continuamente, sua preleção musical. Será analisado o aspecto político, cultural e administrativo deste importante evento, por meio de uma abordagem histórica com base em três fontes: a primeira, o livro de Antônio Chechim Filho, na qual foram coletadas diversas informações básicas dos respectivos eventos; a segunda fonte, o acervo do jornal O Estado de S. Paulo, que foi fundamental para comparar com os fatos relatados por Chechim; a terceira fonte foi estabelecida a partir dos dados obtidos em alguns trabalhos biográficos sobre Villa-Lobos, nos quais se destacam os respectivos trabalhos de Flávia Camargo Toni, Manuel Negwer e Paulo Renato Guérios
Abstract: The decade of 1930 was marred by many clashes from New State policy, established by Getúlio Vargas. Amid these tensions, and São Paulo as its main focus of attention of the then current Government, was the figure of the composer Villa-Lobos in search for a space for your music projects. The first project that has been granted, by means of the intervenor in the State of São Paulo, João Alberto Lins de Barros, entitled Excursão Artística Villa-Lobos, scored in the year 1931, a new stage in the life of Villa-Lobos, directed, too, for music education. The tour provided a unique artistic experience to several cities outside the capital cities, through a series of concerts of didactic nature, in which, Villa-Lobos, performed with other notable artists and, continually, making their musical lectures. Will be analyzed the political, cultural and administrative aspect of this important event, by means of a historical approach based on three sources: the first, the book of Antonio Chechim Filho, in which was collected several basic information of their events; the second source, the collection of the newspaper O Estado de S. Paulo, was key to compare with the facts reported by Chechim; the third source was established, from data obtained in some biographical work about Villa-Lobos, in which the respective works of Flávia Camargo Toni, Manuel Negwer and Paulo Renato Guérios
Mestre
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Allen, Joseph J. "The retina blues : invisibility and cultural visibility." Virtual Press, 1995. http://liblink.bsu.edu/uhtbin/catkey/941584.
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My text formulates a theory of postmodern invisibility while examining the condition of cultural invisibility. As I track strategies of position and space in contemporary American literature and music, I propose a tactic for attaining cultural visibility that draws from Jean Baudrillard's notion of the-more-visible-than-the-visible, postmodern aesthetics and the cultural metaphor of the optics of the vision system.In our technoculture, Ralph Ellison's Invisible Man and his narrator's choice of an invisible identity, though wonderfully evocative, is no longer a viable solution to the dilemma of cultural invisibility. Later contemporary American fiction, especially Don DeLillo's White Noise, offers a strategy that oscillates between invisibility and visibility and is ineffective in curing cultural invisibility. My project centers on Leslie Marmon Silko's Ceremony and her representation of a storytelling ceremony that can cure the problem of cultural invisibility. Silko proposes a narrative mode capable of representing and accomplishing cultural work by reversing the flow of culture. Nathaniel Mackey's jazz-inspired fiction, Dibot Baghostus's Run (1993), expands Silko's magical blueprint by employing a culturally dense, hyper-visible narrative mode.Like Silko and Mackey, cultural theorist Trinh Minh-ha, anthropologist Michael Taussig, and sociologist Stephen Pfohl employ the more-visible-than-the-visible composition strategy of collage. Their writings, as well as the aesthetic of hiphop, serve as a model for my text because in collage, there is room for disorientation, noise, local elements, plurality, recomposition, hyper-visibility, and the sampling of crosscultural artifacts and debris. Experiencing a montage can shock sensory perceptions into novel paradigms of representation and, as Silko and Mackey hope, bring about a meaningful cultural visibility.For Minh-ha, Silko, and Mackey, stories and other cultural artifacts circulate freely like gifts. The pleasure is in transmitting, circulating, and retransmitting the story: the pleasure of making the story more-than-visible. Then the story functions, as Minh-ha states, "as a cure and a protection [that] is at once musical, historical, poetical, ethical, educational, magical." While my text strives to represent several of these elements, my theory of postmodern invisibility reflects and transmits a narrative mode that is capable of curing the problem of cultural invisibility.Department of English
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Gille, Quentin. "Propositions pour un paradigme culturel de la phono-cinématographie: des phono-scènes aux vidéoclips et au-delà." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209309.
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La proposition centrale de cette thèse est double. D’une part, il s’agit de jeter les bases d’un modèle historique qui réunirait tous les dispositifs audiovisuels qui associent des images animées à une chanson populaire qui leur est préexistante sous un même paradigme culturel que nous baptiserons « phono-cinématographie ». Celui-ci aurait débuté vers la fin du XIXe siècle, avec l’invention du kinétoscope d’Edison, pour aboutir à nos jours avec l’émergence des vidéos musicales interactives sur Internet. D’autre part, il s’agit de nous interroger sur le rôle a priori central que les Beatles occupent au sein de cette histoire de la chanson populaire mise en image. Notre hypothèse principale est que le vidéoclip, tel qu’il s’est institutionnalisé au début des années 1980 pour ensuite se perpétuer jusque dans les années 2000, n’a rien d’une pratique culturelle (voir même d’un média) figé(e) :bien au contraire, cette pratique/ce média a été l’objet de réélaborations continues tant sur le plan de la production, de la diffusion que de la fonction.Notre approche se situe à cheval sur l’histoire du cinéma, de la musique populaire et de la télévision. En nous appuyant sur certaines propositions théoriques et certains concepts formulés dans le champ des études cinématographiques ainsi que dans le champ des performance studies, nous serons particulièrement attentif aux questions de représentation qui se déploient dans ces différents dispositifs phono-cinématographiques :à savoir, les premiers films chantants (les phono-scènes Gaumont et les Vitaphone shorts), les juke-boxes équipés d’un écran (les Soundies et les Scopitones) et enfin les vidéos musicales télévisées (les films promotionnels et les vidéoclips).
Doctorat en Information et communication
info:eu-repo/semantics/nonPublished
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Bádue, Filho Nataniel Marcos [UNESP]. "A excursão artística Villa-Lobos pelo interior do Estado de São Paulo em 1931." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/95158.
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baduefilho_nm_me_ia.pdf: 1148938 bytes, checksum: e562818345817ba5e56fd8bcfeddc095 (MD5)A década de 1930 foi marcada por muitos confrontos provenientes da política do Estado Novo, implantada por Getúlio Vargas. Em meio a essas tensões, tendo São Paulo como foco principal das atenções do, então, Governo, encontrava-se a figura do compositor Villa-Lobos em busca de um espaço para seus projetos musicais. O primeiro Projeto que lhe foi concedido, por intermédio do interventor do Estado de São Paulo, João Alberto Lins de Barros, intitulado Excursão Artística Villa-Lobos, marcou no ano de 1931, uma nova etapa na vida de Villa-Lobos, voltado, também, para a educação musical. A Excursão proporcionou uma vivência artística única para diversas cidades interioranas, por meio de uma série de concertos de cunho didático, nos quais Villa-Lobos se apresentava com outros notáveis artistas e fazia, continuamente, sua preleção musical. Será analisado o aspecto político, cultural e administrativo deste importante evento, por meio de uma abordagem histórica com base em três fontes: a primeira, o livro de Antônio Chechim Filho, na qual foram coletadas diversas informações básicas dos respectivos eventos; a segunda fonte, o acervo do jornal O Estado de S. Paulo, que foi fundamental para comparar com os fatos relatados por Chechim; a terceira fonte foi estabelecida a partir dos dados obtidos em alguns trabalhos biográficos sobre Villa-Lobos, nos quais se destacam os respectivos trabalhos de Flávia Camargo Toni, Manuel Negwer e Paulo Renato Guérios
The decade of 1930 was marred by many clashes from New State policy, established by Getúlio Vargas. Amid these tensions, and São Paulo as its main focus of attention of the then current Government, was the figure of the composer Villa-Lobos in search for a space for your music projects. The first project that has been granted, by means of the intervenor in the State of São Paulo, João Alberto Lins de Barros, entitled Excursão Artística Villa-Lobos, scored in the year 1931, a new stage in the life of Villa-Lobos, directed, too, for music education. The tour provided a unique artistic experience to several cities outside the capital cities, through a series of concerts of didactic nature, in which, Villa-Lobos, performed with other notable artists and, continually, making their musical lectures. Will be analyzed the political, cultural and administrative aspect of this important event, by means of a historical approach based on three sources: the first, the book of Antonio Chechim Filho, in which was collected several basic information of their events; the second source, the collection of the newspaper O Estado de S. Paulo, was key to compare with the facts reported by Chechim; the third source was established, from data obtained in some biographical work about Villa-Lobos, in which the respective works of Flávia Camargo Toni, Manuel Negwer and Paulo Renato Guérios
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Senger, Saesha. "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/150.
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This dissertation explores issues of gender politics, market segmentation, and taste through an examination of the contributions of several artists who have achieved Adult Contemporary (AC) chart success. The scope of the project is limited to a period when many artists who figured prominently in both the broader mainstream of American popular music and the more specific Adult Contemporary category were most commercially viable: from the mid-1980s through the 1990s. My contention is that, as gender politics and gendered social norms continued to change in the United States at this time, Adult Contemporary – the chart, the format, and the associated music – was an important, if overlooked or even trivialized, arena in which these shifting gender dynamics played out. This dissertation explores the significance of the Adult Contemporary format at the end of the twentieth century through analysis of chart performance, artist image, musical works, marketing, and contextual factors. By documenting these relevant social, political, economic, and musical factors, the notable role of a format and of artists neglected by scholars becomes clear.
I explore these issues in the form of lengthy case studies. Examinations of how Adult Contemporary artists such as Michael Bolton, Wilson Phillips, Matchbox Twenty, David Gray, and Mariah Carey were produced and marketed, and how their music was disseminated, illustrate record and radio industry strategies for negotiating the musical, political, and social climate of this period. Significantly, musical and lyrical analyses of songs successful on AC stations, and many of their accompanying promotional videos highlight messages about musical genre, gender, race, and age. This dissertation ultimately demonstrates that Adult Contemporary-oriented music figured significantly in the culture wars, second and third wave feminism, expressions of masculinity, Generation-X struggles, postmodern identity, and market segmentation.
This study also illustrates how the record and radio industries have managed audience composition and behavior to effectively and more predictably produce and market music in the United States. This dissertation argues that, amid broader social determinations for taste, the record industry, radio programmers, and Billboard chart compilers and writers have helped to make and reinforce certain assumptions about who listens to which music and why they do so. In addition, critics have weighed in on what different musical genres and artists have offered and for whom, often assigning higher value to music associated with certain genres, socio-political associations, and listeners while claiming over-commercialization, irrelevance, aesthetic insignificance, and bad taste for much other music.
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Jonsäll, Hans. "Välsignad förbannelse : En retorisk analys av bibliskt material i Black Metallyrik." Thesis, Uppsala universitet, Gamla testamentets exegetik, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-266925.
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This bachelor thesis offers a rhetorical analysis of the album Maranatha by Swedish Black Metal artist Funeral Mist. Its main focus is on the intertextuality between the song "Blessed Curse" and the biblical book Deuteronomy, especially Deut 28 from which it has sampled a large portion of text. In the analysis I uncover the similarities and differences between the two texts in order to explain how the biblical fragments constitute new meanings when rearranged and taken out of their original context. The analysis concludes with relating the material to its new context i.e. the album Maranatha and the Black Metal scene by explaining other intertexts and references to the Bible and discussing which genre is best suited to describe the album as a whole. The results of the study show that the biblical quotations in the lyrics convey radically different messages and meanings compared to their original content in Deut 28. This in turn acknowledge how dependent linguistic symbols are on their context. I finish off my thesis with a few reflections on the moral and ethical implications of this use of biblical material concerning the anti-christian agenda supported by members of the Black Metal scene and specifically how Daniel Rostén of Funeral Mist view his own work and agenda.
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Holman, Jones Stacy Linn 1966. "Music for torching." 2001. http://hdl.handle.net/2152/10542.
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Malembe, Sipho S. "South African popular gospel music in the post-apartheid era : genre, production, mediation and consumption." Thesis, 2005. http://hdl.handle.net/10413/5102.
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This dissertation studies South African popular 'Gospel' music in the context of the new order of the post-apartheid era. The four main focal points of the study are genre, production, mediation and consumption. The end of apartheid was a historic and significant socio-political phenomenon in South Africa. Its implications were not only socio-political; they also affected many other aspects of the country, including arts and culture. Music was not exempt. The genre of local 'Gospel' is premised on the Christian faith, so that by producing and mediating 'Gospel' music, the music industry is at the same time producing and mediating the 'Gospel', or Christian culture. Consequently, by consuming 'Gospel' music the audience also consumes this 'Gospel' culture. Local 'Gospel' first emerged with foreign influences brought into South Africa by the missionaries, but gradually developed into the broad and complex genre that we know today. This is, in part, a result of 'other' influences, styles and elements having been incorporated into it. Many production companies are responsible for the production of local 'Gospel' music. These can be broadly categorized into two: major companies, and indies (which are small, private production companies). These two production routes have different implications for the artists and their music. Similarly, there are many different ways in which this music is mediated, or 'channelled', to its audience. These include television, radio, print media (newspapers, magazines, posters, fliers, etc.), internet, and live performances, all of which have their own specificities that determine their effectiveness in mediating local 'Gospel'. As is the case with any music, the audience for local 'Gospel' consumes its music in different ways and for different purposes. Though the artists/musicians assign certain meanings to their musical works, the audience does not always identify precisely with those musical meanings. Different people at different places and times, with different experiences and social conditions, encounter and interpret the music in different ways. South African popular 'Gospel' music is a broad and complex genre that has developed and grown over the years. The birth of democracy has had an indelible impact on it, and on its processes of production, mediation and consumption.Thesis (M.Mus.)-University of KwaZulu-Natal, Durban, 2005.
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Michael, Despina. "Blind rhapsodists: the image of the modern Greek popular musician." 1998. http://repository.unimelb.edu.au/10187/3288.
Full textAbstract:
This thesis sets out to explore, define and analyse the image of the Modern Greek Popular Musician between approximately 1945 and 1990 as expressed in a variety of written texts. The main argument is that there is a mythic approach in the presentation of the aforesaid image within the context 'of prevailing ideological and political concerns in modern Greek culture since the end of the War, and the ongoing influences of Western philhellenic ideals and Greek nationalism. Secondly, it is argued that the recurrence of common images points to an overall image for the popular musician which is composed of a number of general, diachronic images. The general images have been abstracted from a Typology constructed in a succinct and comprehensive way to show the wide variety of images of the popular musician over the last forty-five years. Despite this variety, however, it is argued that there a certain number of general images which are pivotal to any understanding of the overall image of the popular musician and which can be applied to all the case studies (six in total) which have also been included in the discussion and, indeed, to virtually all Modern Greek popular musicians.Finally, it is argued that the presence of recurring general images of the popular musician (which are neither random nor arbitrary) point to the strong cultural significance of that image. It is suggested that the popular musician is perceived to be a prominent figure in modern Greek culture precisely because there is a need for Culture Heroes in modern Greece; the musician seems to fulfil the relevant criteria by making an important contribution to his/her nation's culture and acting as a role-model for his/her people. Furthermore, it is contended that certain cultural values, beliefs and national preoccupations are expressed and reaffirmed in the image of the popular musician which makes its study all the more important.
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Veeran, Naresh Denny. "Orchestral music was the music of the working class : Indian popular music, performance practices and identity among Indian South Africans in Durban, 1930-1970." Thesis, 1999. http://hdl.handle.net/10413/8932.
Full textAbstract:
During the mid-1930s, a tradition of music-making
which drew its repertoire almost exclusively from
the music of Indian films began among Indian South
African ensembles in and around the city of Durban.
This dissertation examines the ways in which the
re-created music of Indian films served as a popular
expressive medium for the majority of Indian South
Africans in and around the city of Durban between
1930 and 1970. Unlike ethnomusicological and popular
music studies that focus on musics which are generally
both composed and performed by the same group
of people, this study deals with a repertoire that
was by and large imported directly from another geo-
'graphic, political, and social context: India. The
study is based on the premise that the performance
of music can serve as a valuable historical text,
and it posits that the musical structures and performance
practices of the ensembles under study encode
vital information about shared socio-political
experiences and the Indian South African identities
that emerged during the period under discussion.Thesis (Ph.D.)-University of Natal, Durban, 1999.
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Jackson, Melveen Beth. "Indian South African popular music, the broadcast media, and the record industry, 1920-1983." Thesis, 1999. http://hdl.handle.net/10413/8883.
Full textAbstract:
This thesis is an historiographical and sociological study of Indian South African
broadcasting and the music industry between 1924 and 1983. A multilevel approach
which integrates empirical and cultural materialist critical theoretical methodologies
reveals the relationships between the media, industry, economy, politics, and culture.
Until the sixties, Indian South Africans were denied the civic rights that were taken for
granted by white South Africans. Broadcasting, for them, was to be a concession. On
being declared South Africans, broadcast programmes were expanded and designed to
pacify and Indianise Indian South Africans, preparing them for their role as a
middle-class racially defined group, a homelands group without a homeland. South
Africanised popular music, and Indian South African Western semi-classical, popular
music, or jazz performance was rejected by the SABC. Ambiguous nationalisms
shaped Indian South African aesthetics.
Global monopoly controlled the music industry. Similarly, disruptions in the global
market enabled local musicians and small business groups to challenge the majors. In
the late forties and fifties, this resulted in a number of locally manufactured records
featuring local and visiting musicians, and special distribution rights under royalty to an
independent South Asian company. The local South African records were largely
characterised by their syncretic nature, and generated a South African modernism
which had the capacity both to draw and repel audiences and officials alike.
A glossary of non-English terms and a discography of Indian South African music have
been included.Thesis (Ph.D.)-University of Natal, Durban, 1999.
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"A Study of the variety of Cantonese popular songs in Hong Kong." Chinese University of Hong Kong, 1992. http://library.cuhk.edu.hk/record=b5886976.
Full textAbstract:
by Wong Siu Ling, Gabriella.Thesis (M.Phil.)--Chinese University of Hong Kong, 1992.
Includes bibliographical references (leaves 64-69).
Chapter CHAPTER ONE --- INTRODUCTION --- p.1
Chapter CHAPTER TWO --- THE RECORD INDUSTRY --- p.6
Chapter CHAPTER THREE --- LITERATURE REVIEW --- p.15
Chapter CHAPTER FOUR --- THEORETICAL FRAMEWORK AND HYPOTHESES --- p.23
Chapter CHAPTER FIVE --- METHODOLOGY --- p.37
Chapter CHAPTER SIX --- FINDINGS --- p.44
Chapter CHAPTER SEVEN --- DISCUSSION --- p.52
BIBLIOGRAPHY --- p.64
Chapter APPENDIX 1 --- List of Big Corporations and Independents --- p.70
Chapter APPENDIX 2 --- Production cost of a Standard L.P. record --- p.74
Chapter APPENDIX 3 --- Categories of song types --- p.75
Chapter APPENDIX 4 --- Comparison of songs from Big Corporations and the Indies by year --- p.78
Chapter APPENDIX 5 --- Comparison of songs from Big Corporations and the Indies from 1980- 1985 (51) 1986 -1991 (52) --- p.91
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Smit, Brendan. "Afrikaans alternative popular music, 1986-1990 : an analysis of the music of Bernoldus Niemand and Johannes Kerkorrel." Thesis, 1992. http://hdl.handle.net/10413/5020.
Full text
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Kilian, Mark Andre. "The relationships between music and sound effects in post 1960 popular Hollywood film." Thesis, 1994. http://hdl.handle.net/10413/8963.
Full text
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Kvetko, Peter James. "Indipop producing global sounds and local meanings in Bombay /." Thesis, 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1761/kvetkop43407.pdf.
Full text
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"Tracking the narrative : the poetics of identity in rap music and hip- hop culture in Cape Town." Thesis, 2000. http://hdl.handle.net/10413/291.
Full text
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Son, Min-jung. "The politics of the traditional Korean popular song style T'ŭrot'ŭ." Thesis, 2004. http://wwwlib.umi.com/cr/utexas/fullcit?p3145359.
Full text
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Kurokawa, Yoko 1957. "Yearning for a distant music : consumption of Hawaiian music and dance in Japan." Thesis, 2004. http://hdl.handle.net/10125/11757.
Full textAbstract:
Thesis (Ph. D.)--University of Hawaii at Manoa, 2004.Includes bibliographical references (leaves 532-554) and discography (leaves 555-557).
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