Dissertations / Theses on the topic 'Popular music – Korean influences'
To see the other types of publications on this topic, follow the link: Popular music – Korean influences.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 34 dissertations / theses for your research on the topic 'Popular music – Korean influences.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Williams, Zaneh M. "American Influence on Korean Popular Music." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/500.
Full textAbstract:
South Korea is internationally well known for its ethnic and cultural homogeneity, economic and technical success, and strong sense of nationalism. The peoples of South Korea have flourished economically after a series of colonizations, industrialization and political chaos. Over the past few decades, Korea has gained interest internationally for its entertainment industry through the Korean Wave (or Hallyu in Korean). Korean Wave is a term that refers to the increase in the popularity of South Korean culture since the late 1990’s due to Korean music, television shows and fashion. The Korean Wave first swept and captivated the hearts of citizens in East and Southeast Asia and now has expanded its popularity beyond Asia and has captivated millions of people all over the world. After a steady increase in cultural exports as a result of the Korean Wave since 2005, the Korean Tourism Organization (KTO) has realized the value in the exportation of Korean culture and goods and has now created programs that capitalize on this popularity and increase tourists South Korea. Korean popular music or K-Pop is a large and profitable aspect of the Korean Wave. According to CNBC in Move Over Bieber — Korean Pop Music Goes Global
“The [k-pop] industry’s revenues hit about $3.4 billion in 2011, according to the Korea Creative Content Agency (KOCCA), a government group that promotes the country’s cultural initiatives. K-pop’s exports also rose to $180 million last year — jumping 112 percent compared to 2010. Exports have been growing on an average annual rate of nearly 80 percent since 2007.” And that “for every $100 of K-Pop exports, there was an average increase of $395 worth of I.T. goods such as cell phones or electronics that were being exported” (Naidu-Ghelani).
The exportation of K-pop music and cultural can be seen as an economic success story. But in fact, for the Black American community it is the exportation of cultural appropriation and the degradation of Black American culture.
The Korean Wave is packaging, promoting and exporting a “window into Korean culture, society and language that can be as educational as a trip to Korea. South Korea is using the Korean wave to promote its traditional culture within Korea and abroad” (“Hallyu, the Korean Wave” 1). Despite South Korea’s strong sense of nationalism and cultural homogeneity, its pop music has a distinct Black American musical influence. Rap and hip-hop musical style/culture (which is distinctly affiliated with representative of Black Americans) is an integral, if not necessary, part of Korean popular music. The synchronized dance moves, attractive idols and “rap/hip hop” style draws in millions of fans from every walk of life all over the world. The “hip hop” dance moves, clothing and lyrics that dominate Korean popular music, however crosses the line of cultural appreciation and instead can be defined as cultural appropriation.
2
Choi, Yujin. "A Study of Selected Pedagogical Aspects of Two Intercultural Pieces for Late Intermediate and Early Advanced Students: "Variations sur un thème populaire coréen" by Sung-Ki Kim and "Six Pieces for Piano ‘Nori'" by Chung-Sock Kim." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1609156/.
Full textAbstract:
I contend that young students should be introduced to intercultural contemporary music, as this exposure brings benefits to their artistic development and fosters appreciation of other cultures. Variations sur un thème populaire coréen by Sung-Ki Kim (b. 1954) and Six Pieces for Piano ‘Nori' by Chung-Sock Kim (b. 1940) are effective pedagogical works that fit perfectly into the intercultural mold mentioned above, and both are suitable for late intermediate or early advanced level students. A detailed comparison of these two works can help instructors understand the ways by which these composers incorporate Korean folk materials and blend them with Western contemporary techniques. An analysis of Sung-Ki Kim's Variations sur un theme populaire coréen and Chung-Sock Kim's Six Pieces for Piano ‘Nori' can be divided into three categories: harmony, rhythm, and performance-related aspects. By analyzing these two pieces, these study illustrates in greater depth their intercultural aspects, showing the way by which both composers merged traditional Korean folk idioms through the inclusion of traditional Korean rhythms, and the imitation of sounds of several traditional Korean instruments with Western contemporary technique such as non-traditional sounds and use of sostenuto pedal. Finally, this study provides some practicing suggestions and listing exercise on how to practice musical and technical challenges.
3
Han, Ae Jin. "The aesthetics of cuteness in Korean pop music." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61472/.
Full textAbstract:
The aesthetic of ‘cuteness' in South Korean popular music (known as K-pop) is a pivotal concept in Korean media and culture and is frequently used to describe performances by both male and female K-pop groups. Aegyo is a fundamental part of this aesthetic, also called ‘K-cute', and it refers to the behaviour of ‘acting cute' that denotes a particular coquettish style not only in K-pop but also in South Korean society in a broader sense. This thesis explores K-pop performance from the mid-2000s to the 2010s through an examination of K-pop artists' training process, an analysis of K-pop music videos' lyrical and visual codes and a study of notable live performances. The aesthetic of ‘cuteness' in K-pop is contextualised through a historical and cultural review of South Korea and the forms through which aegyo has been represented. Thus, we see how aegyo has evolved in response to gender stereotyping in both traditional and contemporary South Korean society and how it has come to represent a unique idea of Korean-ness expressed in a cultural form that also fulfils its potential for flexibility. Furthermore, this thesis investigates how the K-pop industry influences aegyo through issues of gender and sexuality, primarily examining Richard Schechner's performance theory and Erving Goffman's notion of self-presentation. A significant aspect of this investigation is the sexualisation of K-pop idol boy and girl groups through the deliberate adoption of the aegyo aesthetic, a process that forms a key part of the marketing strategy behind their ‘Korean wave' global success. Finally, I explore mediatised performances of aegyo and the possibility that remediation, as outlined by Bolter and Grusin, provides a potent vehicle for the repetition and reinforcement of ‘cuteness' via holographic and digitalised K-pop performances.
4
Ha, Jarryn. "My Song is My Power: Postcolonial South Korean Popular Music." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1522941303946503.
Full text
5
McReynolds, Robert Timothy. "The influences of American popular music upon twentieth-century song and chamber music." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3088.
Full text
6
Lee, YongWoo. "Embedded voices in-between empires: the cultural formation of Korean popular music in modern times." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95009.
Full textAbstract:
This dissertation examines the historical trajectory of colonial mentality and the genealogy of cultural modernity and Americanization in South Korea by recontextualizing popular music as a narrative of collective memories and mass trauma. By mapping out two continual colonial histories, those represented by the periods of the Japanese Empire and of the American military government, I develop a narrative of Korean popular music that echoes this submission experienced by Koreans, a movement empowered by modern western technology such as the gramophone, radio and phonograph records as well as by the appropriation of various foreign popular music genres. This research primarily explores the ways in which consumption and production practices of Korean popular music were intertwined with structures of Korean cultural modernity. By examining socio-historical transformations such as urban development, commercialization and modernization, I examine the colonial experiences of Koreans as manifest in popular music narratives that gradually embraced collective sentiments and mass perceptions of everyday life under colonial circumstances, particularly as these were influenced by burgeoning concepts of western and American modernity and represented in song lyrics and musical performances from within the interior of Japanese colonial surveillance. As I shall argue, the submissive colonial narrative in Korean popular songs was enforced by the mobilization of Japanese militarism and imperial discourses concerned with becoming an imperial subject within the imperial national body, such that the colonial narrative was present continuously from the post-liberation era until the 1950s when the U.S. military controlled Korean society. Thus, this research raises a set of questions concerning, first, the embedding of Japanese colonialism within Korean popular songs, and secondly, the means by which Americanization and modern life circulated within the colonial and postcolonial diEn replaçant la musique populaire dans le contexte d'une histoire de mémoire collective et de traumatisme de masse, cette thèse examine le parcours historique des mentalités coloniales et la généalogie de la modernité culturelle et de l'américanisation en Corée du Sud. En traçant les contours de deux histoires coloniales successives, de l'Empire japonais au contrôle du gouvernement militaire américain, les expériences modernes des Coréens font écho à la soumission implicite du récit colonial au sein du texte culturel, autorisée par le trope moderne des technologies occidentales le gramophone, la radio et les enregistrements phonographiques et la conciliation entre divers genres de musique populaire. Cette recherche explore comment les pratiques de consommation et de production de la musique populaire, s'enlacent intimement dans la formation de la modernité culturelle en examinant la commercialisation et la modernisation, avec le développement urbain. La représentation des expériences coloniales des Coréens dans le récit de la musique populaire a progressivement englobé les sentiments collectifs et les perceptions de masse des circonstances coloniales en insufflant le concept naissant de modernité occidentale/américaine dans les paroles et dans les performances, à travers plusieurs processus de modernisations macroscopiques dans la vie de tous les jours à l'intérieur de l'imaginaire colonial japonais. Par conséquent, le récit assujetti à l'empire japonais de l'expérience coloniale, dans les chants populaires, avait été renforcé par la mobilisation du militarisme japonais et des discours sur le « sujet impérial » à l'intérieur du corps impérial de la nation qui ont refait surface sous la forme de la soumission continuelle à l'intérieur des mentalités coréennes qui avaient repris les pleins pouvoirs après la libération du joug japonais durant les années 1950. Cette étude s'intéresse à la période de la guerr
7
Lee, Wonseok. "Diversity of K-Pop: A Focus on Race, Language, and Musical Genre." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1526067307402648.
Full text
8
Noh, Wonil. "A Conductor's Guide to Hyo-Won Woo's Choral Music as Reflected in "Oh! KOREA"." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1404580/.
Full textAbstract:
The choral music of Hyo-won Woo, the composer of Oh! KOREA, is being widely performed by universities and professional choruses in Korea, as well as throughout the world. The work exhibits Woo's remarkable compositional style, which displays traditional Korean musical influences. Hyo-Won Woo's Oh! KOREA consisting of four movements, is for chorus, two pianos, and both Eastern and Western percussion instruments. Woo's Oh! KOREA employs an excellent introduction to the Korean choral repertoire for Western audiences, rooted in traditional Korean folk tunes. As today's choral conductors, singers, and audience cannot fully appreciate the value of this traditional Korean work and will likely not understand its intended context, it is therefore necessary to provide an in-depth investigation of this work for any conductor considering a performance of this piece. This study includes influences of traditional Korean elements within Oh! KOREA and rehearsal and performance consideration for Western choir directors.
9
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.
Full text
10
Kim, Kunwoo. "Korean dance suite for piano by Young Jo Lee an analysis /." Muncie, Ind. : Ball State University, 2008. http://cardinalscholar.bsu.edu/748.
Full text
11
Schreiber, David. "An investigation of influences on strategic decision-making in popular recorded music industry micro-enterprises." Thesis, University of Westminster, 2014. https://westminsterresearch.westminster.ac.uk/item/97431/an-investigation-of-influences-on-strategic-decision-making-in-popular-recorded-music-industry-micro-enterprises.
Full textAbstract:
This thesis investigates the strategic decision-making practices (SDM) in music industry micro-enterprises in the United States. Although a significant body of literature has examined the SDM processes in high-tech firms, manufacturers and other specialty industries, very little has been learned about strategic decision-making within the music industry. Eight cases were used to look at what influences the decision-making practice, and how. Two decisions from each of four firms that are directly involved in the marketing and promotion of recorded music product were chosen. The primary source data came from forty-three interviews by thirty-six respondents from firms that were directly involved in the decision-making practice. Direct observation and note taking on company culture and employee interaction, analysis of artefacts in the form of company emails, websites, social media sites and magazines, and other items referenced in the interviews were also used as data sources. Bourdieu’s theory of practice was used to conceptualise the decision-making as interplay between social, cultural, symbolic and economic capital, habitus, and field. The principle argument developed in this thesis is consistent with Bourdieu’s concept of recognition, and explores the desire for actors in this field to make strategic decisions that will position themselves better to either acquire and/or use capital that will lead to further power and positioning within the field. The primary practice was often dictated by the actor’s concern for reputation and how other individuals perceived them and their respective firms. Instances of explicit and implicit exploitation of objectified symbolic capital were seen as a necessary practice to achieving firm objectives. This research also incorporates previous research on strategic decision-making in other micro-enterprises, including the use of past experiences, personal biases, heuristics and intuitive behaviours, as they are a product of the relationship between the habitus, capital and field. A Bourdieusian lens allowed for the surfacing of the complex reflexive interplay among Bourdieu’s practice theory and the theoretical constructs of strategic decision-making, which led to a deep description of the influences on these practices in music industry micro-enterprises while further developing his ideas about the field of cultural production. By bringing both of these nuances to the forefront, my analysis leads to a contribution to the decision-making literature for micro-enterprises and music industry theorists while arguing for a repositioning of the popular music industry within the large-scale production of culture, as one characterised by high amounts of symbolic capital, not low amounts as Bourdieu (1996) contends. In addition, I will argue that in order to transform one capital to another, for example, social or economic capital into symbolic capital, there is a need for a field-specific capital. In this case, ‘music industry capital’ is used as a negotiating aid when agents vie for power and positioning within the music industry.
12
Jung, Hyejin. "Korean Cultural and Musical Influences in Younghi Pagh-Paan's Man-Nam I." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862815/.
Full textAbstract:
Younghi Pagh-Paan is an internationally renowned contemporary Korean-German composer. While her music has been strongly influenced by German contemporary musical aesthetics, her compositions also possess Korean musical and cultural influences. In her works, Pagh-Paan employs Western instruments and musical languages that incorporate contemporary techniques such as vibratos, flatter tonguing, pitch bends, and legato glissandi. These effects are thought to imitate the sounds created by traditional Korean instruments. Man-Nam I, for clarinet and string trio, was the second work that Pagh-Paan composed following her move from Korea to Germany. The piece includes many sounds representative of traditional Korean instruments, along with significant symbolism of the sociological background, culture and history of Korean people. The study of Man-Nam I focuses on unraveling hidden elements of Korean traditional music and culture, and addresses the need for the performers to understand its rich Korean influences in order to reach a deeper interpretation of Pagh-Paan's work.
13
Sung, Sang Yeon. "Globalization and the regional flow of popular music the role of the Korean Wave (Hanliu) in the construction of Taiwanese identities and Asian values /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319905.
Full textAbstract:
Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.Title from PDF t.p. (viewed on May 11, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3194. Advisers: Ruth Stone; Sue Tuohy.
14
Cho, Eun. "Geonyong Lee's Violin Works, Rhapsody for Violin and Piano and Heoten Garak: A Study of Compositional Style and Stylistic Influences." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157559/.
Full textAbstract:
The purpose of this study is to research the music of Geonyong Lee (이건용), one of the most recognized active Korean composers, while determining Lee's intent to compose with influences from both Western and traditional Korean music. This paper analyses Lee's violin works Rhapsody for Piano and Violin and Heoten Garak, and explains the cultural and historical significance surrounding both works in terms of traditional Korean music. Lee asserts that his primary influence Rhapsody for Piano and Violin was Nongac (농악), a traditional form of Korean farming music. Similarly, Heoten Garak displays a distinct influence of traditional Korean music genres, Heoten Garak and Pansori. By analyzing Geonyong Lee's compositional style and approach to the violin, one learns how his musical philosophies combine Western and traditional Korean music practices into a unique compositional approach. The study concludes by summarizing not only Western and traditional Korean style as evident in his music, but also the conceptual approach by which the composer attempts to bring a unique combination of these influences to his audience.
15
Shin, Eun Young. "A Study of Selected Compositional Techniques Found in Young Ja Lee's Variations Pour Piano "Umma ya, Nuna ya" (1996)." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062878/.
Full textAbstract:
Young Ja Lee (b. 1931) is regarded as one of the most important living female composers in Korea. She leads and contributes to the Korean classical music society as a gifted composer and a dedicated educator. This study focuses on how she has combined Western compositional techniques with elements of Eastern traditional music in some of her compositions, in particular, her Variations pour piano "Umma ya, Nuna ya." An interpretation of her Variations pour piano "Umma ya, Nuna ya" reveals that the composition features many of the particular and sublime aspects of Western compositional techniques in conjunction with traditional Korean music style. This study is an investigation of the interaction and assimilation of these disparate elements. The results of this study may inspire further research into traditional Korean music and bring recognition to important Korean composers, as well as encourage music educators to teach Korean composers' compositions.
16
Lee, Hyejin. "Traditional Korean Music in Contemporary Context: A Performance Guide to Gideon Gee Bum Kim's Kangkangsullae." Thesis, University of North Texas, 2018. https://digital.library.unt.edu/ark:/67531/metadc1157533/.
Full textAbstract:
Gideon Gee Bum Kim is an internationally-acclaimed contemporary Korean-Canadian composer. Kim has utilized traditional Korean music with Western composition techniques in some of his works. Kim created his own style by incorporating traditional Korean musical elements such as the scale, rhythmic diversity, syncopation, variation, ornamentation, and the progression of melody into a body of music that is otherwise contemporary and Western. The purpose of this study is to develop a performance guide for Gideon Gee Bum Kim's Kangkangsullae for string trio. Kangkangsullae trio is based on Korean historical, cultural and musical influences. I give a detailed historical and cultural background for this work and demonstrate how Kim integrated Western compositional techniques with traditional Korean music. My emphasis is on defining specific characteristics of traditional Korean music which will provide several points toward understanding Kim's compositional style.
17
Ryu, Hanpil. "A Conductor's Guide to Un-Yung La's Choral Music as Reflected in Easter Cantata." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862841/.
Full textAbstract:
Un-Yung La was one of the first Korean composers of Western style choral music who used Korean folk elements in his composers. According to Un-Yung La's musical theory, which he demonstrated in Easter Cantata. Korean-style melody and rhythm were created based on Korean traditional scales and he also used Western-style harmonization. He attempted a new Korean style of expression through Sikimsae technique in Korean traditional vocal music genres: Pansori and Sijo. The purpose of this paepr is to discuss traditional Korean performance elements related to melody, harmony, and rhythm as employed in La's Easter Cantata. The study will increase the knowledge of western conductors who wish to understand Korean folk music in preparation for performance of choral works such as La's Easter Cantata.
18
Shon, Eun-Kyung. "Le Sinawi, évolution et artistisation : études analytiques des caractéristiques musicales." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040087.
Full textAbstract:
La tradition se balance entre la continuité de l’ancien et l’évolution, le changement. C’est le cas du sinawi, une des musiques instrumentales populaires de la Corée. Cette musique complexe, improvisée et hétérophonique, interprétée par un ensemble instrumental qui était utilisée lors des rituels chamaniques comme accompagnement du chant et de la danse des chamanes, est devenu au fil du temps une musique purement instrumentale de scène et artistique représentant la tradition populaire du pays. Dans cette thèse, l’auteur propose particulièrement une étude analytique des caractéristiques musicales (phrases musicales, forme) des divers sinawi à partir de ses transcriptions pour percevoir comment le sinawi parle, exprime la vie du peuple puis comment celui-ci évolue dans le temps et pour observer ainsi son évolution et son artistisation jusqu’à nos jours où il est présenté comme une musique purement instrumentale de scène. Cette musique qui est à l’origine des musiques populaires coréennes les plus connues comme le sanjo ou le p’ansori est aujourd’hui influencée de retour par ces genres. Aussi, les analyses permettent de constater que l’improvisation et l’hétérophonie qui qualifiaient cette musique complexe sont remplacées par la simplicité et la structureThe tradition emerges from a balance between the continuity and the evolution, the change of the old. This is the case of sinawi, one of the Korean traditional instrumental music. This complex, improvised and heterophonic music played by an instrumental ensemble was used in shamanic rituals as accompaniment of song and dance of shamans. Over time, it became an artistic instrumental music representing the popular tradition of the country. Throughout this thesis, the author proposes the analytical studies of various sinawi’s musical characteristics (e.g., musical phrases, form) from her own transcriptions. This study characterizes how the sinawi speaks, expresses the life of the people and how it has been changing over time. The author also presents sinawi’s evolution and its artistisation process to the present day where it is performed on stage as a pure instrumental music. The sinawi, which is at the origin of the Korean popular music, the best known as sanjo or p'ansori, is now influenced back by these genres. Also, the analysis reveals that the improvisation and the heterophony that rated this complex music are replaced by the structure and the simplicity
19
Park, Hyunju. "The global and the vernacular: the appropriation of transnational cultural imagery and the reconstruction of cultural identities in the realm of contemporary Korean popular music." Thesis, Goldsmiths College (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404802.
Full text
20
Kim, Seongkyul. ""Mich dürstet" (I Thirst) by Younghi Pagh-Paan and the Jeju 4.3 Incident: Images and Piano Textures." Thesis, University of North Texas, 2019. https://digital.library.unt.edu/ark:/67531/metadc1538662/.
Full textAbstract:
Younghi Pagh-Paan is a female Korean-German composer. Although being a prolific composer, she has only twice composed for piano solo. Pagh-Paan's Mich Drüstet (I Thirst) is a piano solo work and based on the tragedy in Korea, the Jeju 4.3 Incident in 1948. Even though the Jeju 4.3 incident triggered mora than 30,000 casualties, I Thirst is the only music to commemorate the incident, as commissioned by the pianist Kaya Han. This study of I Thirst highlights her musical textures for the piano and elements she employs to express her thoughts about the event; for instance, Korean musical element, 12-tone techniques, and counterpoint. In addition, it addresses the need for the pianist to have background information about Jeju Island and the Incident by matching images with musical sections in order to achieve a deeper interpretation of Pagh-Paan's piano composition.
21
Napier, Dione J. "A STUDY OF J.S. BACH’S SACRED AND SECULAR VOCAL WORKS INFLUENCED BY POPULAR STYLIZED DANCE OF THE FRENCH BAROQUE COURT: A PERFORMER’S GUIDE." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/23.
Full textAbstract:
Among the existing body of literature on J.S. Bach’s massive compositional output, a scarce percentage of this research is dedicated specifically to the study of French Baroque court dances and their influence on Bach’s solo vocal repertoire. This study presents secular and sacred solo vocal works by J.S. Bach that were influenced by popular French court dances of the eighteenth century. The study explores musical and dance traits extracted from some of the most popular French Baroque court dances and incorporated into solo vocal repertoire. The intent of this paper is to provide a resource from a performer’s perspective that serves as an informative guide for vocalists, vocal coaches, and voice instructors. It includes biographical information about J.S. Bach, an historical overview of five of the most popular eighteenth-century French court dances, and it features five solo vocal works by Bach whose conception was influenced by French Baroque court dances. The overall goal of this study is to inform the reader about the influences and relationships between French Baroque dance and solo vocal works by J.S. Bach. This study is unique in that it is limited only to those solo vocal works which share a relationship with eighteenth-century French court dances.
22
Gorecki, Lisa. "The stirrings still of popular forms of entertainment in Samuel Beckett's first published play, examining the influences of the music-hall, vaudeville, circus and early screen comedy on Waiting for Godot." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0006/MQ39921.pdf.
Full text
23
Amaral, Raphael Fernando. "O novo tempo do Afrobeat: expressões musicais e identidades negras." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21316.
Full textAbstract:
Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-08-08T11:30:29Z
No. of bitstreams: 1
Raphael Fernando Amaral.pdf: 1223789 bytes, checksum: bd0f8b6773118e7694112dbd907a1fe6 (MD5)Made available in DSpace on 2018-08-08T11:30:29Z (GMT). No. of bitstreams: 1 Raphael Fernando Amaral.pdf: 1223789 bytes, checksum: bd0f8b6773118e7694112dbd907a1fe6 (MD5) Previous issue date: 2018-06-22
Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
The present research aims to understande the influences of afrobeat, nigerian musical style, and its main creator, the musician Fela Kuti, concerning emergente musical productions in the urban context at contemporary Brazil. The central scope of the research consists on how musicians and activists have taken the afrobeat as a stylistic and aesthetic reference. Through the analysis of phonographic production and cultural activities it’s noticed that the afrobeat music bacame a new basis for identity and musical dialogue. It explores also the political clashes around the incorporation of afrobeat into different social and ethnic extracts. It is also emphasized that through this style, a new black and young affirmation has been made in the context of the metropolis’ peripheries in Brazil. Inserted in the Cultural Studies, this investigation’s relevance stems from the fact that, with the afrobeat, it is possible to understand certain facets about how occur the cultural movements, identity reconfigurations and a new formations of subjectivities between Africa and America by the routes of the black diaspora
A presente pesquisa tem como objetivo compreender as influências do afrobeat, estilo musical nigeriano, e de seu principal criador, o músico Fela Kuti, sobre as produções musicais emergentes no contexto urbano no Brasil contemporâneo. O escopo central da pesquisa consiste no modo como músicos e ativistas tomaram o afrobeat como referência estilística e estética. Por meio da análise da produção fonográfica e de atividades culturais se percebe que a música afrobeat se tornou uma nova base de diálogo musical e identitário. Explora, também, os embates políticos em torno da incorporação do afrobeat em diferentes extratos sociais e étnicos. Destaca que, por meio desse estilo, uma nova afirmação negra e jovem se fez no contexto das periferias das metrópoles no Brasil. Inserida nos Estudos Culturais, a relevância dessa investigação decorre do fato que, com o afrobeat, é possível compreender determinadas facetas sobre como ocorrem as movimentações culturais, reconfigurações identitárias e a formação de novas subjetividades entre a África e a América pelas rotas da diáspora negra
24
Hilts, Janet Flora. "Seo Taiji 1992-2004 : South Korean popular music and masculinity /." 2006. http://proquest.umi.com/pqdweb?index=0&did=1240700171&SrchMode=1&sid=7&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1194980377&clientId=5220.
Full textAbstract:
Thesis (M.A.)--York University, 2006. Graduate Programme in Music.Typescript. Includes bibliographical references (leaves 171-183). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://proquest.umi.com/pqdweb?index=0&did=1240700171&SrchMode=1&sid=7&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1194980377&clientId=5220
25
Wan, Morning, and 萬孟琳. "Influences of Music Appreciation Applied Popular Music to Students’ Music Learning Interests and Achievement." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/39836806449773215877.
Full textAbstract:
碩士國立臺北教育大學
音樂學系碩士班
97
The purpose of the study aimed to explore the influences of popular music applied in music appreciation to students’ learning interests and achievement. The experimental design was used and 127 5th gradres were sampled from Tai-Pin Elementary School in Taichung County. Popular music was applied in music appreciation as treatment for experimental group, while the regular course was taught for control group. The researcher-developed instruments for assessing learning interests and achievement were administered as pre- and post-tests. After ten-week experiemental teaching, quantitative data were collected and analyzed through Statistical Software SPSS. Dependant t-test and ANCOVA were executed to test the significant differences in learning interest between variables. Independent t-test and ANOVA were used to compare control and experimental groups in Music Learning Achievement Test. Finally, the experimental results were summarized as followings. In learning interest, the results indicated that the experimental group had more interests than control group after experimental courses. However, there was no significant effect between genders, groups, students with pop music experience, instrumental learning experience, and students who attended music clubs or not. In music achievement, the results indicated that the experimental group contributed significantly higher achievement than control group after experimental courses. There was no significant effect between genders, groups, and students with pop music experience. However, the students who had instrumental learning experience or attended music clubs achieved higher scores in Music Achievement Test. Based on the results, recommendations were made to music teachers and future research.
26
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
27
LI, CHIA-SHU, and 李家恕. "Globalizing and renovating Korean popular music strategically:A musicology analysis of K-pop production process." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/dmr47p.
Full textAbstract:
碩士世新大學
傳播管理學研究所(含碩專班)
106
While Korean pop songs have emerged as a dominant form of artistic commodity in the global pop music market, Korean pop (K-Pop thereafter) is thus less affected by cultural discount among their followers. Research efforts have paid along K-POP paying attention to the cultural production, such as cultural intermediaries (agencies and recording companies) - as of how Korean pop music agencies formulate a symbolic system where the intellectual properties can be duplicated and quickly expanded in the global consumerist society. However, scarce researches have maneuvered to understand the textual elements and specific acoustic elements despite increasing devotion to visual/choreographic representation paid. It is in this context. this thesis attempts to explore the acoustic/musicological elements innovated in K-POP along the process of music production achieve the goal to bypass the global barriers, penetrating different markets. Additionally, what are their K-POP music production formulas and how are they internalized/integrated into the global music production. Through the perspective of musicological analysis, this thesis focuses on the use of hook, hip-hop stylization and uniqueness of Korean music. The aforementioned three dimensions are employed to contextualize how Korean Pop music innovate their music note composition, musical rhythm segmentation and performance so that a common and globalized formula is materialized in an exclusive manner to gain the global popularity. Besides the analysis, this research examines the chorological transformation in the strategic adaptation and micro-modification and how it seizes the mind of its followers and explicates the notion of easy to listen, brainwashing and ready to sing and perform, as termed as main characteristics of popular music against the global cultural mediacape, creating a unique position as K-POP music.
28
Ali, Jasmine Thalia Lee, and 李思橒. "Servicescape Effect on Satisfaction, Intention and Recommendation in the Context of Music Concert: Case of Korean Popular Music Concert in Jakarta." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/42072007697254071891.
Full textAbstract:
碩士中國文化大學
全球商務碩士學位學程碩士班
103
Indonesia, as one of the country which affected by Korean wave is becoming a new market by Korean entertainment industry. With the market audience growing up, local promotors begin competes to bring the latest trending celebrity to create profits. Venue chosen to hold the event becoming important as it seen as the celebrity pride. Previous studies on servicescape supports that this particular variable can develop special emotion and value on customer’s mind, in the end resulting in satisfaction. With female respondent dominating the survey, the data collected is analyzed using regression analysis and correlation analysis. All results of hypotheses testing shown positive results that servicescape is a good predecessor variable in influencing all dependent variable, namely emotional response, perceived value, satisfaction, intention and recommendation. Result of Pearson’s correlation shown that emotion has very strong relationship with satisfaction.
29
Medina, Jenny Wang. "From Tradition to Brand: the Making of "Global" Korean Culture in Millennial South Korea." Thesis, 2015. https://doi.org/10.7916/D8R49Q7G.
Full textAbstract:
“From Tradition to Brand” examines the construction of a ‘global’ Korean culture in the late 20th and early 21st centuries through the imbrication of cultural production and information technologies. “Global Korea” seeks to transcend the geographic boundaries of the Republic of Korea while simultaneously re-inscribing the limits of ethnonational identity by confusing the temporal distinctions of tradition and ethnic belonging to the geopolitical construct of “Korea.”
Globalization was introduced in Korea as a nationalist project that continued on the developmental trajectory that had been pursued by the preceding authoritarian regimes, but the movements of South Korean citizens, diaspora Koreans, and non-ethnic-Korean immigrants in and out of the country has created a transnational community of shared social and cultural practices that now constitute the global image of Korean culture. National culture had been a major site of conflict between authoritarian regimes, opposition groups, and the specter of North Korea over the representation of a unified culture and ethnic heritage. However, civil society and economic successes in the 1990s brought about a crisis of identification, while migration flows began to threaten the exclusive correspondence between citizenship and ethnic identity.
Studies of contemporary Korea have recognized the nationalist appropriation of globalization, but I argue that the parallel development of national culture and information technology in South Korea has resulted in a deracinated signifier of “Koreanness” that can be performed through the consumption and practice of mediated “Korean” content. Through a study of cultural policies; international literary events; and literature, film, and popular culture texts, I trace the vicissitudes of intervention and opposition by state, institutional, and individual actors involved in the production and transmission of Korean culture.
I begin with the imbrication of national culture and information technology in Chapter 1, from the establishment of the Ministry of Culture and Information in the 1960s, to the application of the country’s well-developed research and technology sectors to the newly defined “cultural industries” in the late 1990s and early 2000s. In Chapter 2, I analyze the proceedings of international literary events held in Seoul from 2003-2011 that protested the instrumentalization of culture while decrying the persistence of a hierarchy of cultural distinction in “World Literature.” These chapters draw out the productive tension between the state’s conception of culture as content or commodity to be regulated, and the international artistic establishment’s view of culture as a “field of struggle.” In the following chapters I chart the intermedial discourse of identity and belonging to communities of ethnicity, gender, sexuality, national origin, and class through cultural texts from the early 2000s.
In Chapters 3, 4, and 5, I analyze newly canonized literature and films about migrant laborers to South Korea (Ch. 3); popular TV dramas about Korean cuisine and the culinary industry (Ch. 4), and “historical” narratives that challenge generic boundaries through time travel, hybrid sonic registers, and alternate histories (Ch. 5). South Korea becomes the signifier of an ideal “Korean” space in these texts. It is at once a de-territorialized multi-ethnic space of excessive consumption; an idealistically cosmopolitan, yet ethnically homogeneous space of economic and class mobility; and a socially progressive atemporal space of pre- and post-modern aesthetes.
“From Tradition to Brand” builds on critical discourses of multiculturalism, globalization, visual media, genre, narrative, and transnational cultural studies to conclude that South Korean global culture performs a temporal double-bind that erases its present-tense cultural identity in favor of a recuperative past in the utopian future.
30
LI, YI-CHEN, and 李宜真. "Influences of Musical Education Applied Popular Music in the Elementary School-Take Fifth Grade for Example." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/28828181577635442938.
Full textAbstract:
碩士國立高雄大學
運動健康與休閒學系碩士在職專班
105
The purpose of the study aimed at exploring the influences of popular-music-applied music education on fifth grade students’ learning interests in music. This study adopted a quasi-experimental design: the subjects were four classes of fifth-grade students at an elementary school in Kaohsiung City. There were 48 students in the treatment group, and 47 students in the control group. The students in the treatment group received popular-music-applied music education in instructionally designed courses twice a week, each time 40 minutes, and a total of seven weeks of popular-music-applied music teaching activities. The students in the control group, on the other hand, received the same amount of music education, yet without applying popular music in class. This study was conducted using Morning Wan’s "Scale of assessing students’ interests in music learning" as a research tool, and used the obtained data for statistical analysis so as to understand the effectiveness of applying popular music in music teaching. The research purposes of this study were as follows: 1.To understand the effects different music education programs have on students’ interests in music learning. 2.To compare the differences in effectiveness between different music education programs. 3.To explore the influences of applying popular music in the design of music education programs on fifth-grade students in the treatment group. The results of the study were as follows: 1.The scores on the "Scale of assessing students’ interests in music learning" of students who had been exposed to popular music in instructionally designed music courses, compared with those of students who had received traditional music courses, had significant statistical meaning. 2.By using the post-test independent samples of treatment group and control group, and by applying t-test to verify the difference in post-test averages, the conclusion was that students welcomed the intervention of "popular-music-applied music education in instructionally designed courses" better than that of the traditional courses. 3.Students liked popular-music-applied music teaching activities, and most students held positive views toward such activities. The researcher summarized by bringing up advice and conclusion based on the results of the study, with an aim to serving as a reference for educators, future researches, and popular-music-applied, instructionally designed music courses.
31
Zulu, Thulani. "South African popular music of the 1980's and the role of the Graceland Project: A case of International (USA- RSA ) collaboration and co-production." Thesis, 2018. http://hdl.handle.net/11602/1240.
Full textAbstract:
PhD (African Studies)Department of African Studies
In the 1980s South Africa was subjected to cultural embargo. However, at the height of the embargo, Paul Simon went against the political climate of the day and mounted a cross-cultural, multinational music project called Graceland. Although South African popular music can facilitate the prosperity of musicians, only few musicians have succeeded in fostering this aspect. Using popular music and pop culture Afrocentrism as frameworks, this study analyses the Graceland project in the context of the South African popular music of the 1980s. The empirical research approach leaning towards the qualitative method was used. Interviews and literature review were the main modes of data gathering. Owing to the sensitivity of the subject, ethical considerations were adhered to. The cultural embargo, as well as other political interventions aiming at pressurising the South African government to abandon its apartheid policies, were well-meaning, but at the same time, the cultural embargo had a negative impact in that the popular culture of the country went unrecognised by global players. It was envisaged that this study would help in understanding the motivations and intentions of the planners of the Graceland project, and how these were to benefit the South African music sector.
NRF
32
Khan, Khatija Bibi. "Post 9/11 constructions of Muslim identities in American black popular music." Thesis, 2010. http://hdl.handle.net/10500/3606.
Full textAbstract:
The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS-One have been influenced by Islam’s religious versions of the Nation of Islam, Five Percenters or Nation of Gods and Earths and Sunny Islam. Individual singers also manipulated the spiritual symbols and cultural resources made available to them in the Islam religion. Black African American singers more or less share common historical experiences, but they constructed and depicted Muslim identities differently because of their class, generational and gender backgrounds. Chapter one introduced the area of study, justified it and adopted an eclectic theoretical approach in order to account for the diverse constructions of Muslim identities in the songs composed by black African American hip hop singers. Chapter two provided an extended review of literature for the study. Chapter three explored the influence of the Nation of Islam on the singers and its creative manipulation by the black singers. Chapter four explored religious hybridity because the lyrics draw from Islam and Christian eschatological values. Chapter five used lyrics by three black female singers and revealed how they reconfigured differently, Black Muslim identities in a musical industry predominantly patronised by male singers. Chapter six explored the use of language in signifying different meanings of Muslim-ness in order to arrive at different definitions of pan Black Islamic musical consciousness. Chapter seven concluded the study by summarising the central argument of the study which was that black African American singers have referenced cultural symbols from Islam and in the process manipulated Islam’s religious metaphors to suggest different and alternative models for the black communities in the United States of America.English Studies
D. Litt. et Phil.
33
Khan, Khatija Bibi. "Post 9/11 constructions of Muslims identities in the American black popular music." Thesis, 2010. http://hdl.handle.net/10500/3606.
Full textAbstract:
The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS-One have been influenced by Islam’s religious versions of the Nation of Islam, Five Percenters or Nation of Gods and Earths and Sunny Islam. Individual singers also manipulated the spiritual symbols and cultural resources made available to them in the Islam religion. Black African American singers more or less share common historical experiences, but they constructed and depicted Muslim identities differently because of their class, generational and gender backgrounds. Chapter one introduced the area of study, justified it and adopted an eclectic theoretical approach in order to account for the diverse constructions of Muslim identities in the songs composed by black African American hip hop singers. Chapter two provided an extended review of literature for the study. Chapter three explored the influence of the Nation of Islam on the singers and its creative manipulation by the black singers. Chapter four explored religious hybridity because the lyrics draw from Islam and Christian eschatological values. Chapter five used lyrics by three black female singers and revealed how they reconfigured differently, Black Muslim identities in a musical industry predominantly patronised by male singers. Chapter six explored the use of language in signifying different meanings of Muslim-ness in order to arrive at different definitions of pan Black Islamic musical consciousness. Chapter seven concluded the study by summarising the central argument of the study which was that black African American singers have referenced cultural symbols from Islam and in the process manipulated Islam’s religious metaphors to suggest different and alternative models for the black communities in the United States of America.English Studies
D. Litt. et Phil.
34
Gorecki, Lisa. "The stirrings still of popular forms of entertainment in Samuel Beckett's first published play : examining the influences of the Music-Hall, Vaudeville, Circus and Early screen comedy on Waiting for Godot." Thesis, 1997. http://spectrum.library.concordia.ca/467/1/MQ39921.pdf.
Full textAbstract:
The Irish playwright Samuel Beckett has long been known for his indefatigable spirit of irreverence in the face of many of Western society's most cherished institutions and hallowed belief systems. Yet his consistent reverence for one particular bastion of Western culture remains a lesser known fact: that of popular stage and screen entertainment. This thesis explores the ways in which Beckett interlards Waiting for Godot with a selection of thematic motifs and comic conventions culled from the English music-hall, American vaudeville, circus clowning and, finally, early screen comedy in order to present us with a vision of the human condition that is as universal as it is devastatingly comical or, for that matter, comically devastating. Special attention is paid to Beckett's deployment and/or adaptation of: (a) the "multi-sensory" language of the clown of 'low' comedy; (b) vaudeville and the music-hall's self-referential stage and stage-world; (c) the popular, "shifty" tramp-clown figure of stage and screen, and (d) the comic 'double-act' of the music-hall, vaudeville and circus--each of which serves to underline the bafflingly complex nature of human experience in a universe characterized by radical indeterminacy.