Dissertations / Theses: 'Popular voice'

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Jarman-Ivens, Freya. "Breaking voices : voice, subjectivity and fragmentation in popular music." Thesis, University of Newcastle upon Tyne, 2006. http://hdl.handle.net/10443/234.

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Four case studies from 'mainstream' popular music are used to explore the voice as a primary site for the construction of meaning in popular music, both as a vehicle for language and as an 'object' outside of or alongside language. The first chapter argues that the extensive use of overdubbing technology by the Carpenters forms part of their relationship with the 'geno-song', and that the cyborgian voice which emerges from such use of technology disrupts human-centred psychoanalytic models of subjective development. Finally, different recordings of 'Superstar' are analysed to show how different recordings of a song negotiate ideas of 'presence'. The second chapter outlines various sexually queer subjects presented by Madonna, and argues that the process of constant transformation challenges hegemonic Western notions of a unified 'self'. The chapter also argues that musical factors have underpinned her visual transformations, and that her vocality has suggested her maturation as an artist and challenged the ideology of 'voice' as a stable signifier of identity. A chapter on Eminem explores his simultaneous use of three distinct characters to play out different aspects of his own identity, and how his work represents and constructs masculinity. Specifically, the chapter argues that the use of language as a system does not easily parallel the masculinist content of the lyrics, but can instead be aligned with traditionally 'feminine' or feminising modes of writing. Moreover, according to a traditional gendered musical semiotics, the interface between language and music does not underline 'masculinity' in normative ways. The final chapter considers how ideas of 'self' and Other are negotiated in Elvis Impersonation. In particular, a model for understanding vocal impersonation is offered, using Freud's model of the ideal ego and Baudrillard's orders of simulacra. Finally, the chapter explores the representation and construction of masculinities in various examples of Elvis Impersonation.

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Snell, Merrie. "Lipsynching : popular song recordings and the disembodied voice." Thesis, University of Newcastle upon Tyne, 2015. http://hdl.handle.net/10443/2902.

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This thesis is an exploration and problematization of the practice of lipsynching to prerecorded song in both professional and vernacular contexts, covering over a century of diverse artistic practices from early sound cinema through to the current popularity of vernacular internet lipsynching videos. This thesis examines the different ways in which the practice provides a locus for discussion about musical authenticity, challenging as well as re-confirming attitudes towards how technologically-mediated audio-visual practices represent musical performance as authentic or otherwise. It also investigates the phenomenon in relation to the changes in our relationship to musical performance as a result of the ubiquity of recorded music in our social and private environments, and the uses to which we put music in our everyday lives. This involves examining the meanings that emerge when a singing voice is set free from the necessity of inhabiting an originating body, and the ways in which under certain conditions, as consumers of recorded song, we draw on our own embodiment to imagine “the disembodied”. The main goal of the thesis is to show, through the study of lipsynching, an understanding of how we listen to, respond to, and use recorded music, not only as a commodity to be consumed but as a culturally-sophisticated and complex means of identification, a site of projection, introjection, and habitation, and, through this, a means of personal and collective creativity.

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Gombay, Christie Carleton University Dissertation International Affairs. "The popular church in Guatemala: the silent voice." Ottawa, 1988.

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Jiang, Xinxin. "Whose Voice?: A Critical Analysis of Identity, Media, and Popular Music in The Voice of China." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1530233479992508.

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Davidson, Esme. "Hearing stars : popular feature length animation and the celebrity voice." Thesis, Nottingham Trent University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.442336.

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Campos, Marcio Roberto. "Canto popular: aspectos da atuação de professores de canto brasileiros." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/20905.

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Introduction: theoretical-practical knowledge is fundamental for a teacher and, usually, only with an appropriate method of teaching it is possible to transmit knowledge effectively. Thus, it is up to the singing teacher to master the specific technical issues of the art of teaching, as well as the particularities of each musical genre. Objective: to analyze the performance characteristics of a group of Brazilian teachers of popular singing. Method: a questionnaire specially designed for this study was applied, based on the literature and the researchers' experience. The instrument was divided into two parts: characterization of the sample and research on the performance of popular singing teachers. The survey was conducted online using the SurveyMonkey tool. Results: The sample was finalized with 175 teachers, 91 women and 84 men, predominantly in the age group of 30 to 39 years. About the method, 73.7% reported having a working method. For this group, five categories were created to name such methods. Of these categories, the one of known methods was the most outstanding, with 46.5%, followed by unnamed methods, with 33.3% and methods based on books, handouts, videos or singing schools, with 10.1%. In the description of the singing classes, seven categories were created and the most outstanding was the technique / exercises with 59.7%, followed by repertoire / performance with 54.3%, vocalizes / tuning with 36.4%, aspects related to the body with 34.1%, warm up with 32.6%, respiration / support with 31.0% and, finally, perception / proprioception with 24.0%. Conclusion: when analyzing the characteristics of the work of a group of teachers of popular singing we can conclude that these professionals have a method of work and, in general, in the singing class, the focuses are the techniques and the vocal exercises, as well as aspects related to repertoire and performance
Introdução: o conhecimento teórico-prático é fundamental para um professor e geralmente apenas com um método adequado de ensino se consegue transmitir de forma eficiente o conhecimento. Dessa forma, cabe, portanto ao professor de canto dominar as questões técnicas específicas da arte de ensinar, assim como das particularidades de cada gênero musical. Objetivo: analisar as características de atuação de um grupo de professores brasileiros de canto popular. Método: foi aplicado um questionário, elaborado especialmente para esse estudo, baseado na literatura e na experiência dos pesquisadores. O instrumento foi dividido em duas partes: caracterização da amostra e investigação sobre a forma de atuação de professores de canto popular. A pesquisa foi realizada online por meio da ferramenta SurveyMonkey. Resultados: a amostra foi finalizada com 175 professores, 91 mulheres e 84 homens e, com predomínio na faixa etária de 30 a 39 anos. Sobre o método 73.7% afirmaram possuir um método de trabalho. Para esse grupo foram criadas cinco categorias para nomear tais métodos. Entre as categorias com maior destaque, 46.5% para métodos conhecidos, 33.3% não deram nome para seus métodos e 10.1% para métodos baseado em livros, apostilas, vídeos ou escolas de canto. Na descrição das aulas de canto foram criadas sete categorias e a que teve maior destaque foi a de técnica / exercícios com 59.7%, seguida por repertório / performance com 54.3%, vocalizes / afinação com 36.4%. Na sequência as categorias aspectos relacionados ao corpo com 34.1%, aquecimento com 32.6%, respiração / apoio com 31.0% e por fim percepção / propriocepção com 24.0%. Conclusão: ao analisar as características do trabalho de um grupo de professores de canto popular concluímos que este profissional possui um método de trabalho e de maneira geral na aula de canto o foco são técnicas e exercícios vocais, além de aspectos relacionados ao repertório e a performance

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Greenberg, Jonathan Ross. "Singing up close voice, language, and race in American popular music, 1925-1935 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1481673371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Nunes, Rafaela Rohsbacker Gonzalez. "Voz-ruído na canção popular brasileira: a expressividade das vozes femininas do samba-canção da década de 1950." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-07112017-155453/.

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A canção conta com o colorido das qualidades vocais de seus intérpretes, que através de diferentes sonoridades desempenham papel na expressividade e na construção de seu sentido. Dentre estas sonoridades estão as vozes-ruído, entendidas nesta pesquisa como qualidades vocais que apresentam ruído sonoro junto ao tom vocal. O presente estudo tem como objetivo investigar os aspectos intrínsecos do som proveniente de tais vozes - características fisiológicas, acústicas, psicoacústicas e psicodinâmicas -, e propor um levantamento de categoria, investigando sua relação com a expressividade da voz cantada através de uma escuta analítica. O recorte desta pesquisa compreende o modelo de canto popular brasileiro, no repertório do samba-canção da década de 1950, nas vozes de Dalva de Oliveira, Ângela Maria, Dolores Duran e Maysa. Os resultados apontam para o papel das qualidades vocais das intérpretes na construção do sentido da canção, onde a voz-ruído e sua sonoridade antagônica ajudam a delinear um estado emotivo expresso pela letra, assim como sugerem a identificação das cantoras às vertentes estéticas do samba-canção vigentes no período estudado.
The song counts on the color of the voice qualities of its performers, who through different sonorities play a role in expressiveness and in the construction of its meaning. Among these sonorities are the noise voices, understood in this research as voice qualities that present sonorous noise next to the vocal tone. The present study aims to investigate the intrinsic aspects of the sound coming from such voices - physiological, acoustic, psychoacoustic and psychodynamic characteristics - and to propose a category survey, investigating its relation with the expressiveness of the singing voice through an analytic listening. This research includes the popular Brazilian singing model, in the repertoire of the samba-canção of the 1950s, in the voices of Dalva de Oliveira, Ângela Maria, Dolores Duran and Maysa. The results point to the role of the voice qualities of the performers in the construction of the meaning of the song, where the noise voice and its antagonistic sonority help to delineate an emotional state expressed by the lyrics, as well as suggest the identification of the singers to the aesthetic aspects of the samba-canção during the study period.

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Torrence, Avril Diane. "The people's voice : the role of audience in the popular poems of Longfellow and Tennyson." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32172.

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At the height of their popularity in the mid-nineteenth century, a vast transatlantic readership conferred on Longfellow and Tennyson the title "The People's Poet." This examination of Anglo-American Victorian poetry attempts to account for that phenomenon. A poetic work is first defined as an aesthetic experience that occurs within a triangular matrix of text, author, and reader. As reception theorist Hans Robert Jauss contends, both the creator's and the receptor's aesthetic experiences are filtered through a historically determined "horizon of expectations" that governs popular appeal. A historical account of the publication and promotion of Longfellow's and Tennyson's poetry provides empirical evidence for how and why their poetic texts appealed to a widespread readership. This account is followed by an analysis of the class and gender of Victorian readers of poetry that considers the role of "consumers" in the production of both poetry and poetic personae as commodities for public consumption. The development of each poet's voice is then examined in a context of a gendered "separate-sphere" ideology to explain how both Longfellow's and Tennyson's adoption of "feminine" cadences in their respective voices influenced the nineteenth-century reception of their work. The final two chapters analyze select texts—lyric and narrative—to determine reasons for their popular appeal in relation to the level of active reader engagement in the poetic experience. Through affective lyricism, as in Longfellow's "Psalm of Life" and Tennyson's "Break, break, break," these poets demanded that their readers listen; through sentiment transformed into domestic allegory, as in Miles Standish and Enoch Arden, these poets demanded further that they feel. While both Victorian poets were later decanonized by their modern successors, contemporary critics, mainly academic, have restored Tennyson to the literary canon while relegating Longfellow to a second-rate schoolroom status. The conclusion speculates on the possible reasons underlying the disparate reputations assigned to the two poets, both of whom, during their lifetimes, shared equally the fame and fortune that attended their role as "The People's Voice."
Arts, Faculty of
English, Department of
Graduate

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Hollywood, Paul. "'The voice of dynamite' : anarchism, popular fiction and the late political novels of Joseph Conrad." Thesis, University of Kent, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.281600.

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Loiola, Camila Miranda. "Canto popular e erudito: características vocais, ajustes do trato vocal e desempenho profissional." Pontifícia Universidade Católica de São Paulo, 2013. https://tede2.pucsp.br/handle/handle/11959.

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The different genres of the singing voice present vocal features, specific requirements and demands that must be seen. Objectives: To analyse the vocal chacacteristics and vocal tract configuration of popular and erudite professionakl singers, and to compare their voice handicap index by the protocols Modern Voice Handicap Index (MVHI) and Classical Voice Handicap Index (CVHI) with demographics characteristics and the presence or absence of self-reported vocal complaints. Method: this thesis consists of two separated studies. The first one is about an evaluation of acoustic data and glottic and supraglottic vocal tract adjustments of 20 professional male singers, 10 popular and 10 erudite tenors, during sustained vowel [e] in habitual speech, vowel [e] from passage of two different songs for each genre, and semidirected speech. The second study consisted of a MVHI and CVHI comparison with 132 professional singers, 74 of them were popular and 58, erudite, comparing with sex, age, time of professional experience in singing ant the presence ou absence of self-reported complaints. Results: In study 1, popular singers had lower fundamental frequency (f0) and formant F1 than the erudite singers; F2 was higher among popular singers, which indicated a lower incidence of pharyngeal constriction. In erudite singers, was detected a F2 decrease because of a posterior displacement of the tongue base; F3 was higher among erudite singers, indicative of brightness and the presence of singer's formant; only among erudite singers were detect F3 and F4 peaks on the long term average strectrum. Regarding the spectral curve decline, both groups showed greater decline in the singing compared to speech, suggestive that the singing emission had less tension, with curves flatter us erudite. About the vocal tract configuration, vocal folds were better visualized in popular singers, due to the absence of supraglottic constriction. Most of them had stretched vocal folds and the glottal closure was complete. In erudite singers ther was a higher incidence of supraglottic and pharyngeal constrictions. In study 2, there were no correlation scores of MVHI and CVHI with sex and age from both groups; the professional experience was related to total scores and the MVHI subscales; the subscales disability, disadvantage and defect presented relationship each other in MVHI and CVHI. Conclusions: popular and erudite singers behave differently in many respects, and it was verified in both acoustics and the vocal tract adjustments. Furthermore, regarding their job performance, the impact of a vocal problem or difficulty interferes differently between the two genders and all these aspects depend on the professional demand, the singer s experience, the finesse required for every musical genre and also by how each individual deals with their vocals issues
A voz cantada, em seus diferentes gêneros, apresenta características individuais da voz, exigências e demandas que devem ser respeitadas. Objetivos: analisar as características vocais e a configuração do trato vocal em cantores profissionais populares e eruditos do sexo masculino; e comparar o índice de desvantagem vocal de ambos os gêneros musicais por meio dos protocolos Índice de Desvantagem Vocal no Canto Moderno (IDCM) e Clássico (IDCC), dados demográficos e a presença ou ausência de queixa vocal autorreferida. Método: a tese é composta por dois estudos distintos. O primeiro é uma avaliação acústica e dos ajustes do trato vocal glótico e supraglótico de 20 cantores profissionais do sexo masculino, 10 populares e 10 eruditos tenores, durante emissão de vogal [e] sustentada em tom habitual de fala, um trecho de canto diferente para cada gênero e fala semidirigida. O segundo estudo constou da comparação dos protocolos IDCM e IDCC em 132 cantores profissionais, 74 populares e 58 eruditos, com o sexo, a idade, o tempo de atuação profissional e a presença ou ausência de queixa vocal autorreferida. Resultados: no estudo 1, cantores populares tiveram a frequência fundamental f0 e o formante F1 mais baixos do que os eruditos; F2 foi maior nos cantores populares, o que indicou menor ocorrência de constrição faríngea. Nos eruditos, houve diminuição de F2 pelo deslocamento posterior de base de língua; F3 foi maior nos eruditos, indicativo de brilho e a presença do formante do cantor, verificado em F3 e F4 e na análise de longo termo apenas nos eruditos. Quanto à curva declínio espectral, ambos os grupos apresentaram maior declínio no canto em comparação à fala, sugestivo de emissão cantada com menos tensão, com curvas mais planas nos eruditos. Na configuração do trato vocal, pregas vocais foram melhor visualizadas nos cantores populares, em decorrência da ausência de constrição supraglótica. A maioria deles apresentou pregas vocais estiradas e coaptação glótica completa no canto. Nos eruditos, maior ocorrência de constrição supraglótica e faríngea. No estudo 2, não houve correlação dos escores IDCM e IDCC com o sexo e a idade dos cantores de ambos os grupos; o tempo de experiência profissional teve relação com escores total e das subescalas incapacidade e defeito do IDCM; as subescalas incapacidade, desvantagem e defeito apresentam relação entre si, no IDCM e no IDCC. Considerações finais: Cantores populares e eruditos se comportam de maneira distinta em vários aspectos, fato verificado tanto na acústica e no ajuste do trato vocal. Além disso, quanto ao seu desempenho profissional, o impacto de uma dificuldade ou problema vocal interfere de formas diferentes entre os dois gêneros e todos esses aspectos dependem da demanda de trabalho, da experiência do cantor, do requinte exigido por cada gênero musical e também pela maneira como cada sujeito lida com suas questões vocais

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Lacasse, Serge. "'Listen to my voice' : the evocative power of vocal staging in recorded rock music and other forms of vocal expression." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369881.

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Machado, Regina. "Da intenção ao gesto interpretativo: análise semiótica do canto popular brasileiro." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-02082012-132557/.

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A canção popular brasileira, principal produto da nossa cultura midiática, vem obtendo reconhecimento nos meios acadêmicos nesses últimos anos, justificando o desenvolvimento de uma prática descritiva que se dedica a analisá-la: a Semiótica da Canção, desenvolvida por Luiz Tatit. Curiosamente, no entanto, o canto popular, principal veículo de manifestação dessa canção, só agora começa a despertar o interesse de pesquisadores. Este trabalho pretende, partindo da aplicação da Semiótica da Canção e a ela acrescentando uma terminologia adequada à percepção descritiva do comportamento vocal, analisar algumas das principais vozes do Brasil, com base na escuta de fonogramas. Procuramos, assim, traduzir o que denominamos Qualidade Emotiva das vozes, na tentativa de desenvolver uma descrição analítica que superasse o juízo de valor ou a mera adjetivação.
During the last years, Brazilian popular song, which are the main product of our media culture, is obtaining recognition among the academic environment, justifying the development of a descriptive practice that is dedicated to analyze it: The Song Semiotics developed by Luiz Tatit. However, it wasnt until now, that popular singing, which is the main means of these songs manifestation, started to awake researchers interest. Starting on The Song Semiotics and adding to it an appropriate term for the descriptive perception of the vocal behavior, this work intend to analyze some of the main Brazilian voices, based on phonograms listening. We will try this way to express what we call Voices Emotive Quality, in an effort to develop an analytic description that overcomes any judgment or mere qualification.

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Davidson, Adam. "Performing "Hurt" : Aging, Disability, and Popular Music as Mediated Product and Lived-Experience in Johnny Cash's Final Recordings." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7139.

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Sitting at a rarely examined intersection between aging, disability, and popular culture, this project explores how the aging body becomes the disabled body in the context of popular music. In what follows, I trouble the distinction between bodies and mediation, between lived-experience and cultural product, and I argue that the voice of the aging artist engages with his lived-experience even as he performs socially-constructed conceptions of aging and disability. I read Johnny Cash’s 2002 cover of Trent Reznor’s “Hurt” on American IV: The Man Comes Around as a performance of the singer’s age and disabled condition. Through pain- saturated lyrics, music filled with unresolved tension, a damaged voice, and a video that puts his aged body on display, Cash performs a disability script that presents his age and personal health as disabling burden. I explore how country music, Cash’s performance past, and strategies pursued by his producer, Rick Rubin, all contribute to a performance that is both successful popular song and a manifestation of the singer’s declining condition. The project invites subsequent explorations of the intersection of age and disability in popular music, and highlights several artists whose voices and performances of old age and disability demand attention. The project aligns with an interactive approach to disability research, breaking down the dialectic between social and individual priorities in disability studies and foregrounding how each influence the overall performance.

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Carmo, Gisele Tomaz do. "Estudo fonético qualitativo da fala e do canto no teatro popular em São Paulo." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-28022019-182333/.

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O objetivo deste trabalho é comparar o padrão formântico da fala atuada com o canto no teatro popular em São Paulo, com base nos estudos de Raposo de Medeiros (2002) e Sundberg (2015). Definiu-se a fonética acústica como área de estudo para a escolha do método, bem como para as análises dos aspectos acústicos investigados. Quanto ao método, o primeiro passo foi selecionar a canção Enchente, da peça Hospital da gente, que pertence ao repertório do Grupo Clariô de Teatro. Em seguida, realizou-se a coleta de dados da qual participou uma atriz profissional, de 33 anos. Solicitamos à atriz que cantasse e falasse o texto da canção como se estivesse no palco. A fala produzida pela atriz apresentou duas características distintas: em alguns momentos foi executada de forma gritada e, em outros momentos, de forma não-gritada, que nomeamos de fala normal. A fala gritada nos chamou à atenção, e consequentemente, despertou-nos o interesse em observar esse aspecto de qualidade de voz, em nossos dados. Após a gravação, tratamento e segmentação dos dados, medimos e comparamos qualitativamente os três primeiros formantes, F1, F2 e F3, bem como a Frequência Fundamental, F0, das vogais do PB na posição tônica, em sua porção mais estável. Com a emergência dos dados de fala gritada, vimos, então, a necessidade de o corpus ser aumentado com uma terceira condição de gravação, a condição de fala neutra, que não pode ser coletada pela atriz por motivos de falta de agenda. Assim, coletamos os dados da autora desta pesquisa para ser utilizada como parâmetro nas análises de qualidade de voz. Em um análise qualitativa foi possível dizer que as vogais da fala apresentam variação em sua produção, o que resulta em valores muitos diferentes intra vogais, por exemplo entre as vogais [e]. Já no canto foi possível perceber que as vogais [a], [] e [] apresentam seus valores mais concentrados, enquanto as demais vogais cantadas, as vogais altas, tendem a mostrar valores mais dispersos mesmo quando cantadas. A qualidade de voz da atriz varia ao longo do texto, mas as ocorrências de fala gritada possuem o F1 elevado; uma das característica descritas na literatura para descrever esse tipo de fala. Essa dissertação tenta aproximar estudos acadêmicos da área linguística, com o movimento artístico da periferia de São Paulo, com o intuito de apresentar aos artistas como a fonética acústica pode auxiliá-los em suas composições, no sentido de dar um pouco de clareza de como funciona o processo de produção de fala.
The objective of this work is to compare the formant pattern of speech with singing in the popular theater in São Paulo, based on studies by Raposo de Medeiros (2002) and Sundberg (2015). Acoustic Phonetics was defined as a study area both for the methodology and for the analysis of acoustic aspects investigated. As for the method, the first step was to select the song \"Enchente\" from the play \"Hospital da Gente\" which belongs to the repertoire of the Clariô Theater Group. Then, a data collection was performed, with the participation of a 33 years old professional actress. We asked the actress to sing and speak the text of the song as if she were on the stage. The speech produced by the actress presented two distinct characteristics: in a few moments she performed it in a shouted way and, at other times, in a non-shouted way, that we call normal speech. The shouted speech caught our attention, and consequently aroused our interest in observing this aspect of voice quality, in our data. After recording, treatment and segmentation of the data, we measured and compared the first three formants, F1, F2 and F3, as well as the Fundamental Frequency, F0, of the PB vowels in the tonic position, in their most stable portion. With the emergence of shouted speech data we then saw the need for the corpus to be increased with a third recording condition, the neutral speech condition, which could not be collected with the actress due to her full agenda. Thus, we collected data from the author of this research to be used as a parameter in the analysis of voice quality. In a qualitative analysis it was possible to say that speech vowels present variation in their production, which results in many different intra vowel values, for example between vowels [e]. In the song it was possible to perceive that the vowels [a], [] and [] present their most concentrated values, while the other vowels sung, the high vowels, tend to disperse even when sung. The voice quality of the actress varies throughout the text, but the shouted speech occurrences have high F1; one of the characteristics described in the literature to describe this type of speech. This dissertation tries to approximate academic studies of the linguistic area, with the artistic movement of the periphery of São Paulo, in order to present to the artists how acoustic phonetics can help them in their compositions, in the sense of giving a little clarity of how it works the process of speech production.

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Lucy, Rachel. "Amplifying Community Voice in Multi-Sector Health Collaboration: Case Study Exploring Meaningful Inclusion." Antioch University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=antioch161444181674164.

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Zhang, Zan. "Paradise and paradox : on the Super Voice Girls : elementary discussion on popular culture, youth, media and state politics of contemporary China." Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/7872.

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This paper investigates the Super Voice Girl show (è¶çº§å¥³å£°) as a popular music outlet and cultural product of contemporary China. Focusing on three important contexts of the Super Voice Girl showâthe industrial, value and ethical foundations, this piece of work demonstrates that the popular cultural outlet, combined with new technologies of mass communication and the new market economy in the Chinese society today, has made a contribution to enabling Chinese youth, in particular, Chinese young women to gain access to achieving a new voice. The three foundations provide people with an opportunity to have a comprehensive understanding about the key elements or fundamental concepts of this new public voice, including the industrial chain of the show, the aspiration for democracy, the subversion of feminist right awareness against traditional ethical outlook or patriarchy-dominated ethical view, and the impact of media propaganda on youth and so on.

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Araújo, Pedro André Guerreiro Martins de. "Describing vocal performance of Portuguese cantadeiras of Alto Minho." Doctoral thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/14676.

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Doutoramento em Música
Portugal has strong musical traditions, which have been perpetrated by decades through folkloristic activities. In folk groups from Alto Minho (north of Portugal), folk singing is mostly performed by cantadeiras, amateur female solo singers who learn this style orally. Their vocal characteristics are distinctive when compared with other regions of the country; however, deep understanding of these vocal practices is still missing. The present work aims at studying Alto Minho cantadeira’s vocal performance in a multidimensional perspective, envisioning social, cultural and physiological understanding of this musical style. Thus, qualitative and quantitative data analyses were carried out, to: (i) describe current performance practices, (ii) explore existent perceptions about most relevant voice features in this region, (iii) investigate physiological and acoustic properties of this style, and (iv) compare this style of singing with other non-classical singing styles of other countries. Dataset gathered involved: 78 groups whose members were telephone interviewed, 13 directors who were asked to fill in a questionnaire on performance practices, 1 cantadeira in a pilot study, 16 cantadeiras in preliminary voice recordings, 77 folk group members in listening tests, and 10 cantadeiras in multichannel recordings, including audio, ELG, air flow and intra-oral pressure signals. Data were analysed through thematic content analysis, descriptive and inferential statistics, hierarchical principal components, and multivariate linear regression models. Most representative voices have a high pitched and loud voice, with a bright timbre, predominance of chest register without excessive effort, and good text intelligibility with regional accent. High representativeness levels were obtained by few cantadeiras; these sing with high levels of subglottal pressure and vocal fold contact quotient, predominance of high spectrum energy and vocal loudness, corroborating indications of prevalence of pressed phonation. These vocal characteristics resemble belting in musical theatre and share similarities with country (USA) and ojikanje (Croatia) singing. Strategies that may contribute to the preservation of this type of singing and the vocal health of current cantadeiras are discussed, pointing at the direction of continuous education among folk groups, following practices that are already adopted elsewhere in Europe.
Portugal é um país com fortes tradições musicais perpetuadas ao longo de décadas através das práticas folclóricas. Nos grupos folclóricos da região do Alto Minho, o canto é maioritariamente praticado por cantadeiras, cantoras amadoras cuja aprendizagem é feita maioritariamente por tradição oral. As suas características vocais diferenciam-se das de outras regiões do país, embora se desconheçam ainda as razões fisiológicas e acústicas responsáveis por tal distinção. O presente trabalho propõe investigar a performance vocal das cantadeiras do Alto Minho numa perspetiva multidimensional, considerando aspetos sociais, culturais, fisiológicos e acústicos associados à prática deste estilo musical. Assim, os dados recolhidos, qualitativos e quantitativos, procuraram: (i) descrever práticas performativas atuais, (ii) explorar as perceções existentes sobre os traços mais relevantes da voz nesta região, (iii) investigar propriedades fisiológicas e acústicas da voz neste estilo, e (iv) comparar o canto folclórico do Alto Minho com outros estilos de canto tradicional. Foram envolvidos: 78 grupos, em questionários telefónicos, 13 diretores em questionários de caracterização performativa, 1 cantadeira num estudo piloto, 16 cantadeiras em gravações áudio preliminares, 77 membros de grupos folclóricos em testes perceptuais auditivos e 10 cantadeiras em gravações multicanal, incluindo sinais áudio, ELG, fluxo de ar e pressão intra-oral. A análise de dados incluiu análise temática de conteúdo, estatística descritiva e inferencial, análise hierárquica de componentes principais e modelos de regressão linear multivariada. As características vocais mais representativas incluem: voz aguda e forte, com timbre estridente, prevalência de registo de peito com nível não-excessivo de esforço, boa inteligibilidade do texto e sotaque da região. Poucas foram as cantadeiras identificadas como detentoras destas características. As que foram apontadas como possuidoras de vozes mais representativas apresentam valores de pressão subglótica e contacto das pregas vocais elevados, predominância de parciais harmónicos superiores e grande intensidade vocal, características que corroboram as associadas a uma fonação “pressionada”. Este padrão vocal, indicativo de esforço fonatório, aproxima-se do descrito em belting, utilizado em teatro musical. Quando comparado com outros géneros tradicionais, as cantadeiras do Alto Minho apresentam alguns traços semelhantes aos dos cantores de country (EUA) e ojikanje (Croácia). Estratégias que poderão contribuir para a preservação deste estilo vocal e para a saúde vocal das cantadeiras apontam para a formação contínua de grupos existentes, à semelhança do que acontece com outros estilos folclóricos europeus.

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Huang, Yu. "La dynamique culturelle en Chine contemporaine : analyse de phénomène de Super Girl Voice concours de chant." Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30020/document.

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Cette thèse étudie le phénomène du concours de chant « Super Voice Girl » dans le but de déterminer les mécanismes fondamentaux de la dynamique culturelle en Chine contemporaine. S’inspirant de l’émission américaine « American Idol », le concours de chant « Super Girl Voice » est produit par Hunan TV et sa compagnie filiale EE Media. Avec une participation massive, le concours est commenté par un jury dans les auditions régionales préliminaires, complété par un système de vote des téléspectateurs afin d’élire le gagnant. « Super Girl Voice » est devenu un des sujets les plus discutés de la société chinoise dans le domaine des medias de masse. La thèse examine ce phénomène dans la cadre théorique de l'hégémonie culturelle qui articule des vues divergentes dans des études culturelles. Pour son auteur, la force culturelle en Chine contemporaine est caractérisée par la négociation entre l’idéologie dominante, la culture populaire et les discours intellectuels. L'idéologie dominante de l’état fortement ancrée dans la société détermine la politique et les pratiques culturelles chinoises. Elle est en même temps réinterprétée et diluée dans le processus de la modernisation économique. La culture émergente populaire à visées lucratives se tient délibérément à distance de l'idéologie dominante, mais elle reste dans l’obligation de s’adapter aux règles de l’idéologie dominante. Les discours intellectuels sont diversifiés depuis que les intellectuels chinois ont plus d’indépendance économique, politique et culturelle. Leur influence, toutefois, a été minée par la politique de contrôle des médias et la dépolitisation de l’industrie culturelle chinoise
This thesis investigates the Super Girl Voice phenomenon in order to achieve some understanding of the mechanisms underlying cultural dynamics in contemporary China. A Chinese imitation of the American reality television singing competition American Idol, the Super Girl Voice Contest is produced by Hunan TV and its subsidiary company EE Media. This highly participatory contest features a panel of judges in the preliminary regional auditions and employs a telecommunication-Based voting system to determine the winner. Its finals are broadcast live in prime time with record-Breaking national viewership. This contest also becomes one of the most heatedly discussed issues in Chinese society in the public sphere of mass media. The author contends that the cultural dynamics in contemporary China is characterized by the mediated negotiation between the dominant, the emergent, and the residual cultures. The dominant state ideology is embodied in the majority of the society and determines Chinese cultural policy and practices. On the other hand, it is being reinterpreted and diluted in the process of economic modernization. The profit-Oriented emergent popular culture deliberately keeps a distance from the dominant ideology, but it still need to comply with the ideology-Dominated regulations. The intellectual discourses are diversified since Chinese intellectuals achieve more economic, political and cultural independence. However, their influences have been undermined due to the political control over Chinese media and the depolitisation of Chinese cultural industry

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20

Woolner, Christina. "The labour of love songs : voicing intimacy in Somaliland." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/286359.

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This dissertation is about the work of love songs in Hargeysa, Somaliland. In a setting where music and expressions of love are conspicuously absent from public soundscapes, I explore the lives and labour of a genre as it moves and is moved across time and space, the singing and speaking voices that animate these songs, and the entanglement of love songs in the mediation of intimacy and the shaping of contested post-war soundscapes. What, I ask, is a love song? In a setting marked by war, where music-making and expressions of love are contested, what do love songs do? And how do they do what they do? In answering these questions, I take love songs in motion as my primary ethnographic object and investigate the "labour" of love songs in two senses: the intimate human labour by which love songs are made, circulated, heard, performed and put to assorted uses, and the social-aesthetic-affective labour that a genre itself performs. Based on eighteen months of field-research with poets, musicians, singers, music-lovers and love-suffering audiences in Hargeysa, I track love songs through various stages of their multi-faceted lives: as they first come into the world through the collaboration of a poet and his muse, a musician and a singer; as they circulate and are re-animated alongside stories of singers and stories of encounters; as they are re-figured by the ears and voices of attentive listeners; as their sounding is learned by musicians; and as their live performance is negotiated and received in contested urban terrain. I show the primary labour of love songs to be the distillation, performance and creation of intimate social relations: intimate relations predicated on "dareen-wadaag" ("feeling-sharing") that transcend everyday cleavages and prohibitions, and that have the power to shape both individuals' personal intimate lives and the socio-political worlds in which songs move and do their work. I argue that love songs' ability to distill and open space for intimacy rests on an ideology of voice that figures the voice as a deeply personal mode of self-expression and the simultaneously multi-vocal practices of voicing by which love songs are animated. In other words, the "voice" is made - and made intimate - by its multi-faceted multi-vocal sociality. In so doing, this dissertation contributes to understandings of the workings and power of popular culture in Africa and beyond, recent anthropological efforts to hold together the sonic and social dynamics of the "voice", and broader anthropological conversations about the mediated, multi-vocal making of persons and social worlds.

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Botha, Marzahn. "Die geelpers in Suid-Afrika : 'n analise van die Kaapse Son, Daily Voice en Daily Sun / M. Botha." Thesis, North-West University, 2009. http://hdl.handle.net/10394/2649.

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Although the yellow press has been in existence in Great Britain and the USA since the start of the 19th century, it has only recently been introduced in the South African media environment. The mainstream press like Rapport and Beeld have showed certain characteristics of the yellow press for a while now, but rather present a combination of both trivial and more serious news to the reader. The arrival of the yellow media which brought along a more sensational approach to news became also visible in more serious papers. This phenomenon is called "tabloidisation". The yellow press can be distinguished from serious papers on the basis of its nature and presentation. These characteristics can be divided into three categories, namely news themes, language and style, and presentation. The yellow press can be recognised by the amount of news items that focus on scandals and gossip involving celebrities, sex and crime. These media communicate in a informal and an easy understandable way with the readers,. These publications often make use of crude language and the stories are mostly people-driven. The yellow press publication can be seen as an entertainment package, because the aim is to entertain the reader. A vivid news package is presented to the reader by using bold headlines, large photos, graphics, colour and a captivating front page. This study investigates the characteristics of the yellow press. It investigates whether and how these characteristics are presented under the categories news themes, language, style and presentation of three local daily tabloids, namely the Kaapse Son, Daily Voice and the Daily Sun.
Thesis (M.A. (Communication Studies))--North-West University, Potchefstroom Campus, 2009.

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Figueiredo, Marina Haber de. "Rap e funk : a busca por voz e visibilidade." Universidade Federal de São Carlos, 2016. https://repositorio.ufscar.br/handle/ufscar/9313.

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En una sociedad regida por una ideología oficial tejida por ideologías excluyentes y respaldadas por la constitución de la identidad global en detrimento de la alteridad, este trabajo se propone estudiar, a través de un análisis discursivo, la constitución de los sujetos ético-estético presentes en el funk y el rap nacional, entendidos como un movimiento contemporáneo de cultura popular urbano, la búsqueda para que sus voces sean escuchadas fuera de sus horizontes sociales. En principio, el sujeto estético presente en esas manifestaciones culturales, al buscar que sus voces sean escuchadas y visibles también fuera de su espacio de actuación, promueve la desestabilización de algunos hilos que constituyen la ideología hegemónica, al mismo tiempo que saluda nuevas formas de interacción social, y así, para la constitución de una sociedad basada en la alteridad. Es importante resaltar que ese este estudio no se enfocó en nombres o grupos específicos de funk o rap, y si en la búsqueda por discursos oriundos de esos movimientos culturales y también en discursos sobre los mismos que ratifiquen o no el objetivo propuesto. Este trabajo fue construido con el respaldo teórico de los estudios realizados por el Circulo de Bakhtin, principalmente los que recaen sobre los conceptos de sujeto, dialogía, carnavalización, así como los estudios de Bakhtin sobre cultura popular y fiesta. En general, se dialogó con Callois, Zumthor, Certau, Hall, Canclini, Martín-Barbero entre otros, con la finalidad de verificar la manera por la cual las voces de esos sujetos son valorizadas dentro y fuera de los barrios pobres por medio del embate ideológico ocurrido en y por la palabra ambivalente.
In the midst of a society ruled by an official ideology woven by exclusive ideology and supported by the constitution of the global identity to the detriment of the otherness, this research aims to examine, through a discursive analysis of the constitution of the ethical and aesthetic subjects present in funk and the national rap, seen as a contemporary movement of urban popular culture, the quest for their voices to be heard beyond their social horizons. It seems, the aesthetic subject present in these cultural events, to get their voices audible and visible also outside their sphere of action, promotes the destabilization of some wires that constitute the hegemonic ideology, while waving to new forms of social interaction and thus for the creation of a society founded by the otherness. Importantly, this study did not focus on names or specific groups of funk or rap, but in the search for speeches arising from these cultural movements and also in speeches on them to ratify or not the proposed objective. This research was built with the support of theoretical studies by the Bakhtin Circle, especially those that fall on the subject concepts, dialogy, carnivalization, as well as studies of Bakhtin on popular culture and party. In general, there are dialogs with Caillois, Zumthor, Certeau, Hall, Canclini, Martin-Barbero among others, in order to verify the way in which the voices of these individuals are valued in and out of the slum, through the ideological clash occurred in and by the word ambivalent.
Em meio a uma sociedade regida por uma ideologia oficial tecida por ideologias excludentes e respaldadas pela constituição da identidade global em detrimento da alteridade, esta pesquisa se propõe a estudar, por meio de uma análise discursiva a constituição dos sujeitos ético-estéticos presentes no funk e no rap nacional, entendidos como um movimento contemporâneo de cultura popular urbana, a busca para que suas vozes sejam ouvidas para além de seus horizontes sociais. Ao que tudo indica, o sujeito estético presente nessas manifestações culturais, ao buscar que suas vozes sejam audíveis e visíveis também fora do seu espaço de atuação, promove a desestabilização de alguns fios que constituem a ideologia hegemônica, ao mesmo tempo em que acena para novas formas de interação social e, assim, para a constituição de uma sociedade alicerçada pela alteridade. É importante ressaltar que esse estudo não se centrou em nomes ou grupos específicos de funk ou rap, mas na busca por discursos oriundos desses movimentos culturais e também em discursos sobre os mesmos que ratificassem ou não o objetivo proposto. Esta pesquisa foi construída com o respaldo teórico dos estudos realizados pelo Círculo de Bakhtin, principalmente os que recaem sobre os conceitos de sujeito, dialogia, carnavalização, bem como os estudos de Bakhtin sobre cultura popular e festa. De um modo geral, dialogou-se como Callois, Zumthor, Certau, Hall, Canclini, Martin-Barbero entre outros, a fim de verificar a maneira pela qual as vozes desses sujeitos são valoradas dentro e fora da favela, por meio do embate ideológico ocorrido na e pela palavra ambivalente.

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Sousa, Joana Mariz de [UNESP]. "Entre a expressão e a técnica: a terminologia do professor de canto - um estudo de caso em pedagogia vocal de canto erudito e popular no eixo Rio-São Paulo." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/110657.

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A presente pesquisa analisou a terminologia para o ensino de técnica vocal de um grupo de seis professores de canto reconhecidos e atuantes no eixo Rio-São Paulo, nas abordagens vocais erudita, popular brasileira e comercial contemporânea em ciclos de quatro aulas com cada professor, observação direta de sua prática cotidiana no estúdio e entrevistas semi-estruturadas. O objetivo principal foi investigar a eventual recorrência de determinados termos e procedimentos técnicos, buscando sua relação com afinidades e disparidades estilísticas e metodológicas entre os sujeitos. Foram objetivos específicos: 1. estabelecer relações entre os dados colhidos e a literatura pedagógica vocal tradicional e moderna, apontado possíveis relações de linguagem entre os termos e procedimentos técnicos utilizados na prática dos docentes observados e a literatura disponível sobre pedagogia vocal e voz cantada. 2. estabelecer relações entre a terminologia vocal pedagógica e aquela utilizada no âmbito das ciências da voz, apontando as principais mudanças conceituais ocasionadas pelas pesquisas científicas em voz cantada. A análise dos dados mostrou que, embora haja identidade estética entre professores de um mesmo estilo e procedimental entre professores de uma mesma tendência teórico-metodológica, tais afinidades não se mantiveram em relação à escolha terminológica. Foram encontrados muitos termos idiossincráticos e uma recorrência transversal de termos sinestésicos e proprioceptivos conhecidos no jargão tradicional do ensino de canto. Por outro lado, foi possível correlacionar grande parte dos termos encontrados com a literatura pedagógica e científica sobre a voz. Este trabalho aproximou do campo teórico a prática do professor de canto, dando voz às suas inquietações e questionamentos, e problematizando a questão da escolha de termos utilizados no ensino de canto no Brasil frente aos avanços dos estudos [...]
This thesis analyzed samples of the terminology used by a group of six well-known singing teachers working in the Rio-São Paulo (Brazil) are with classical, Brazilian popular and North-American contemporary commercial singing. The samples were gathered during field research, trought interviews the subjects and participant and non-participant observation of their everyday practice in their teaching environments. The aim was to show stylistic and pedagogical affinities and discrepancies through the comparison of the terminologies and technical procedures used by the teachers. The specific objectivies were: 1. To find connections between the expressions and procedures found in the field and both the modern and the traditional literature on vocal pedagogy, suggesting a possible lineage of terms. 2. to find connections between the terminology used in the vocal pedagogy field and the one used in voice science, taking into consideration the main conceptual changes estalished by the systematic scientific research of the singing voice. Data showed that there was esthaetic affinity between teachers of the same style and technical similarities between those of the same pedagogical tendency, but such similitude did not translate into an affinity in the choice of terms. Instead, many idyosyncratic terms were found, and there was a pervasive presence of traditional or well-known proprioceptive and sinesthetic terms. Furthermore, it was possible to correlated almost all terms to the pedagogical and scientific literature. This work is a theoretical reflexion of the everyday practice and concerns of singing teachers. It shows the main conflicts involved in the choice of pedagogical terms in the teaching of singing in Brazil in the face of the constant development of voice science, the various requirements of the music market and the problem of integrating vocal technique and musical expression.

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Sousa, Joana Mariz de 1974. "Entre a expressão e a técnica : a terminologia do professor de canto - um estudo de caso em pedagogia vocal de canto erudito e popular no eixo Rio-São Paulo /." São Paulo, 2013. http://hdl.handle.net/11449/110657.

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Orientador: Martha Herr
Banca: Abel Luís Bernardo da Rocha
Banca: Angelo José Fernandes
Banca: Marta Assumpção de Andrada e Silva
Banca: Zuleica Antônia de Camargo
Resumo: A presente pesquisa analisou a terminologia para o ensino de técnica vocal de um grupo de seis professores de canto reconhecidos e atuantes no eixo Rio-São Paulo, nas abordagens vocais erudita, popular brasileira e comercial contemporânea em ciclos de quatro aulas com cada professor, observação direta de sua prática cotidiana no estúdio e entrevistas semi-estruturadas. O objetivo principal foi investigar a eventual recorrência de determinados termos e procedimentos técnicos, buscando sua relação com afinidades e disparidades estilísticas e metodológicas entre os sujeitos. Foram objetivos específicos: 1. estabelecer relações entre os dados colhidos e a literatura pedagógica vocal tradicional e moderna, apontado possíveis relações de linguagem entre os termos e procedimentos técnicos utilizados na prática dos docentes observados e a literatura disponível sobre pedagogia vocal e voz cantada. 2. estabelecer relações entre a terminologia vocal pedagógica e aquela utilizada no âmbito das ciências da voz, apontando as principais mudanças conceituais ocasionadas pelas pesquisas científicas em voz cantada. A análise dos dados mostrou que, embora haja identidade estética entre professores de um mesmo estilo e procedimental entre professores de uma mesma tendência teórico-metodológica, tais afinidades não se mantiveram em relação à escolha terminológica. Foram encontrados muitos termos idiossincráticos e uma recorrência transversal de termos sinestésicos e proprioceptivos conhecidos no jargão tradicional do ensino de canto. Por outro lado, foi possível correlacionar grande parte dos termos encontrados com a literatura pedagógica e científica sobre a voz. Este trabalho aproximou do campo teórico a prática do professor de canto, dando voz às suas inquietações e questionamentos, e problematizando a questão da escolha de termos utilizados no ensino de canto no Brasil frente aos avanços dos estudos [...]
Abstract: This thesis analyzed samples of the terminology used by a group of six well-known singing teachers working in the Rio-São Paulo (Brazil) are with classical, Brazilian popular and North-American contemporary commercial singing. The samples were gathered during field research, trought interviews the subjects and participant and non-participant observation of their everyday practice in their teaching environments. The aim was to show stylistic and pedagogical affinities and discrepancies through the comparison of the terminologies and technical procedures used by the teachers. The specific objectivies were: 1. To find connections between the expressions and procedures found in the field and both the modern and the traditional literature on vocal pedagogy, suggesting a possible lineage of terms. 2. to find connections between the terminology used in the vocal pedagogy field and the one used in voice science, taking into consideration the main conceptual changes estalished by the systematic scientific research of the singing voice. Data showed that there was esthaetic affinity between teachers of the same style and technical similarities between those of the same pedagogical tendency, but such similitude did not translate into an affinity in the choice of terms. Instead, many idyosyncratic terms were found, and there was a pervasive presence of traditional or well-known proprioceptive and sinesthetic terms. Furthermore, it was possible to correlated almost all terms to the pedagogical and scientific literature. This work is a theoretical reflexion of the everyday practice and concerns of singing teachers. It shows the main conflicts involved in the choice of pedagogical terms in the teaching of singing in Brazil in the face of the constant development of voice science, the various requirements of the music market and the problem of integrating vocal technique and musical expression.
Doutor

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Ramos, Clara Leonel. "As múltiplas vozes da Caravana Farkas e a crise do modelo sociológico." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/27/27153/tde-21072009-202642/.

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Caravana Farkas é o um conjunto de 20 documentários produzidos por Thomas Farkas entre 1964 e 1969. Este trabalho analisa verticalmente três destes filmes - Viva Cariri! (1970), de Geraldo Sarno; De Raízes e Rezas, entre outros (1972), de Sergio Muniz e Frei Damião: Trombeta dos Aflitos, Martelo dos Hereges (1970), de Paulo Gil Soares -, buscando situá-los em relação à tradição documentária brasileira que os antecedem e ao documentário brasileiro da década de 70. As análises partem de sugestões imanentes aos filmes, em detrimento do contexto de produção; têm como foco as relações entre som e imagem internas aos filmes; e se apóiam em ferramentas teóricas ligadas especificamente ao filme documentário, como a categoria de voz do texto e os variados modos documentários. A partir do trabalho de análise, esse corpus pode ser caracterizado como de transição. Apesar de estarem ainda ligados às raízes do documentário expositivo brasileiro de cunho sociológico e ao paradigma da voz do dono, os filmes apontam para procedimentos que se tornarão mais comuns na produção brasileira posterior, na qual a busca da voz do outro ganha consistência.
Caravana Farkas is a selection of 20 documentaries produced by Thomas Farkas between the years of 1964 and 1969. This dissertation vertically analyzes three of said films Viva Cariri! (1970), by Geraldo Sarno; De Raízes e Rezas, entre outros (1972), by Sergio Muniz, and Frei Damião: Trombeta dos Aflitos, Martelo dos Hereges (1970), by Paulo Gil Soares , seeking to situate them in relation to the Brazilian documentary tradition that preceded them and the Brazilian documentaries of the 70s. These analyses stem from suggestions that are inherent to the film, in detriment to the context of the production. They also focus on relations between sound and image within the films, and they rely on theoretical tools linked specifically to documentary films, as a category of textual voice and a variety of documentary modalities. From such analyses, this corpus can be characterized as transition. Despite still being linked to the roots of Brazilian expository documentaries of a sociological nature, and to the paradigm the voice of the owner, the films paved the way to procedures that will become the most common within the following Brazilian production, in which the search for the voice of the other gains ground.

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Norkey, Alec. "Intersectional Androgyny in Cyberspace: Gender, Commercialization, and Vocality in Female Ryouseiruis' Music Videos." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1462552660.

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Ryan, Shay. "Pots of red jam : a performance-as-research project with older women." Thesis, Queensland University of Technology, 1996. https://eprints.qut.edu.au/35875/1/35875_Ryan_1996.pdf.

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The study uses a performance-as-research model to devise an essentially woman-friendly process in a collaborative petformance project called Pots of Red Jam around the theme of older women. A rhizomatic system of validation is used, which involves personal experience, feminist methodology and peer review. The first part explores themes relevant to older women in popular literature. Fallowing chapters investigate feminist methodology and examples of other women's projects. Application for future projects of this kind are offered. The script of Pots of Red Jam is included in the study.

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Gava, Junior Wilson. "Programa de Apoio Respiratório Sonorizado: processo de aprendizado de cantores populares." Pontifícia Universidade Católica de São Paulo, 2010. https://tede2.pucsp.br/handle/handle/12284.

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INTRODUCTION: in the singing voice field, the relationships established between the singer s mastering of breathing and vocal emission have always been widely discussed with different points of view. In this matter, breath support is one of the main agents. It is important to note that there are few studies that contribute with practical models designed towards the learning of this ability. AIM: to analyze the Voiced Breathing Support Program (PARS), developed by the author, through the learning process of three popular singers. METHODS: an initial interview was performed to select the subjects, and three professional popular singers, with different characteristics, were chosen to take part in the study. The PARS was developed, individually, in weekly one-hour encounters, in three interdependent phases (awareness, development and sedimentation). Throughout the process, a log of each encounter was filled in, and the audio files were registered, for each singer. Perceptive parameters of voice were also analyzed and compared before and after the program. RESULTS: Subject one had a learning process which involved all levels of knowledge and provided a change in attitude regarding breath support establishment. This subject finished all three phases of the PARS in the expected time-span. There were observed improvements in body aspects, the articulation was more precise, there was an increase of five half-tones in vocal tessitura, and stability in tuning at the end of the program. In the learning process of singer two, different awareness strategies were deeded. This subject needed a higher number of encounters in development and sedimentation phases in order to learn breath support. The parameters that were improved at the end of the PARS were: breathing, breath coordination while singing, resonance, articulation and vocal tessitura, which increased six half-tones. The process of subject three presented difficulties that were basically related to awareness and anatomic and physiologic limitations. They influenced the subject s not being able to obtain a change in attitude in order to learn breath support. Subject three accomplished the awareness and development phases in a higher number of encounters. The awareness phase was not finished and the subject did not acquire breath support. This singer maintained inadequate parameters at the end of the PARS, with only a discrete improvement in tuning. FINAL COMMENTS: Of the three subjects in this study, two established breath support through the PARS. The learning process for each subject occurred in different ways, despite the diversity of each studied subject. There was a link established between knowing and performing, and this promoted a change in attitude regarding respiratory aspects. As far as the vocal aspects, for two singers there were improvements in resonance, articulation, vocal tessitura and tuning
INTRODUÇÃO: no campo da voz cantada, as relações estabelecidas entre o domínio da respiração e a emissão vocal do cantor sempre foram assuntos geradores de polêmica. Nesse ponto, o apoio respiratório é um dos principais agentes. Vale ressaltar, também, que poucos estudos apresentaram propostas práticas direcionadas para seu aprendizado. OBJETIVO: analisar o Programa de Apoio Respiratório Sonorizado (PARS), criado pelo pesquisador, por meio do processo de aprendizado de três cantores populares. MÉTODOS: foi realizada uma entrevista inicial para seleção, na qual três cantores populares profissionais, com diferentes características, foram escolhidos. O PARS foi desenvolvido, de forma individual, em encontros semanais de uma hora de duração, em três fases complementares (sensibilização, desenvolvimento e sedimentação). Para cada cantor, durante todo o processo, foi elaborado um diário dos encontros e registros em áudio. Também, foram analisados e comparados parâmetros perceptivos da voz, antes do inicio do programa e depois. RESULTADOS: o sujeito um teve um processo de aprendizado que envolveu todos os níveis de conhecimento e promoveu uma mudança de atitude com relação ao estabelecimento do apoio. Esse sujeito concluiu três fases do PARS dentro do período esperado. Foram observadas melhoras nos aspectos corporais, articulação ficou mais precisa, houve ampliação de cinco semitons na tessitura vocal e estabilidade na afinação ao final do PARS. No processo de aprendizado, do segundo cantor, foram necessárias estratégias diferenciadas para a propriocepção. Esse sujeito necessitou de um número maior de encontros nas fases de desenvolvimento e sedimentação para aprender o apoio respiratório. Os parâmetros com mudança positiva, ao final do PARS, foram: respiração, coordenação pneumofonoarticulatória, ressonância, articulação e tessitura vocal, com ampliação de seis semitons. O processo do sujeito três apresentou dificuldades, em relação, basicamente, a propriocepção e a limitações anatomofisiológicas. Essas influenciaram para que o sujeito não conseguisse uma mudança de atitude para o aprendizado do apoio. O sujeito três realizou as fases de sensibilização e desenvolvimento em um número maior de encontros. A fase de sensibilização não foi concluída e o sujeito não adquiriu o apoio respiratório. O cantor manteve parâmetros inadequados ao final do PARS, com apenas uma discreta melhora na afinação. CONSIDERAÇÕES FINAIS: dos três sujeitos do estudo, dois estabeleceram o apoio respiratório por meio do PARS. O processo de aprendizado de cada um ocorreu de forma distinta, a despeito da diversidade de cada sujeito pesquisado. Estabeleceu-se um enlace entre o saber e o fazer, de forma a promover uma mudança de atitude com relação aos aspectos respiratórios. Com relação aos aspectos vocais, para dois cantores ocorreram melhoras na ressonância, na articulação, na tessitura e na afinação

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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.

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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 di
En 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

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Stevens, Nicholas David. "Lulu's Daughters: Portraying the Anti-Heroine in Contemporary Opera, 1993-2013." Case Western Reserve University School of Graduate Studies / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=case1497460068959016.

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Potts, Dale E. "Woods Voices, Woods Knowledge: Work and Recreation in the Popular Literature of the Northeastern Forest, 1850-1963." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/PottsDE2007.pdf.

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Chabot-Canet, Céline. "Interprétation, phrasé et rhétorique vocale dans la chanson française depuis 1950 : expliciter l’indicible de la voix." Thesis, Lyon 2, 2013. http://www.theses.fr/2013LYO20055.

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L’enjeu de cette thèse est d’étudier la chanson non dans sa dialectique parole/musique, mais par la saisie d’une troisième entité : l’interprétation vocale. Il s’agit à la fois d’en faire émerger l’importance fondamentale et la richesse et de lui conférer sa légitimité d’objet d’étude par la mise en place d’un protocole méthodologique et lexical spécifique qui en autorise l’analyse – au même titre que la composition – malgré son caractère mouvant et réputé réfractaire à la théorisation. Abordée comme objet complexe (selon la terminologie d’Edgar Morin), elle est soumise au feu croisé des disciplines (musicologie, linguistique, rhétorique, acoustique) pour pousser autant qu’il est possible son objectivation. Sous l’égide de la musicologie, l’utilisation d’outils informatiques permet d’établir une complémentarité entre les perspectives des sciences humaines et des sciences exactes, de capter et d’analyser les spécificités interprétatives, aussi bien dans leurs caractères dominants qu’agogiques, leurs rapports à la partition, leur complexité combinatoire au sein des méta-paramètres (timbre, rythme, phrasé) et les tensions dialogiques qui les parcourent (variation/répétition, mélodicité/insertion du bruit, chanté/parlé). Le large corpus de chanteurs d’expression française (du style Rive gauche à la Nouvelle chanson française) permet d’appréhender, au travers d’analyses d’enregistrements en studio ou en concert, la spécificité irréductible de chacun, émanation d’un corps unique, mais aussi de grands réseaux tendanciels de parentés stylistiques. Mise en avant par la perspective sémiologique, autour des notions de stratégie et de visées interprétatives, de rhétorique vocale, de suscitation du pathos et d’expression de l’ethos, se fait jour une typologie des styles interprétatifs, ouverte sur la prise en compte de l’originalité intrinsèque de chaque interprète et sur l’intégration des évolutions génériques ultérieures
The present thesis focuses on the study of the song not in its word and music dialectic but through the acquisition of a third entity : the vocal rendition. The point is to reveal its critical importance and richness and make it legitimate as a subject of study as the result of the implementation of a specific methodological and lexical protocol that allows the analysis – as with the composition – although its changeable nature is not conducive to theorizing. Considered as a complex object (according to Edgar Morin’s terminology), vocal rendition is submitted to the crossfire of various disciplines (musicology, linguistics, rhetoric, acoustics) in order to favour as far as it is possible its objectivization. Within the framework of musicology, the use of computer tools makes it possible to establish a complementarity between the perspectives of social sciences and exact sciences, to catch and analyse the peculiarities of the performances both in their dominant or agogic characters, their connexions to the score, their combinatorial complexity within the meta-parameters (timbre, rhythm, phrasing), as well as the dialogical tensions which run through them (variation and repetition, melodicity and noise integration, singing and speaking parts). Thanks to the existence of a large body of French-speaking singers (from Rive Gauche style to Nouvelle chanson française) it is possible by studying studio and concert recordings to grasp the irreducible specificity of everyone (what is issued from a unique body) as well as the great underlying networks of stylistic relationships. Disclosed by the semeiological perspective, around the notions of strategy and performance designs, vocal rhetoric, the way to induce pathos and to express ethos, there emerges a typology of performing styles that is open to considering the intrinsic originality of each performer and integrating further generic developments

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Frigo, Letícia Fernandez. "TREINAMENTO FISIOTERAPÊUTICO INTENSIVO DO CENTRO DE FORÇA CORPORAL, MEDIDAS RESPIRATÓRIAS E VOCAIS EM CANTORES POPULARES: ENSAIO CLÍNICO RANDOMIZADO." Universidade Federal de Santa Maria, 2016. http://repositorio.ufsm.br/handle/1/3454.

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Objective: Analyze the vocal, aerodynamic and PH s characteristics before and after a PH s intensive physical therapy training in popular singers. Methods: A randomized clinical trial. Sample composed by singers, shared in Control Group (CG) ans Study Group (SG) that realized the PH s intensive physical therapy protocol. A comparison was made before and after the of the Maximum Phonation Times, voiceless /ė/ of sound pressure level, dynamic range, forced vital capacity (FVC), transversus abdominis activation and maximal expiratory pressures, the glottal source s acoustic voice analysis of was used the Multi Dimensional Advanced Program MDVPA by Kay PENTAX®. Was realized as well, a comparison before and after comparasion about the Simple Phonic Coefficients, Composed Phonic Coefficients, calculation of the ratios s/z, between voiceless and sonorous (ė/e) and the division of Phonation Maximum Time obtained/expected. Conclusion: Was evidenced the improvement of respiratory variables involved in phonation, have not been verified effects on the glottal source measures evaluated in the study, with the exception of two amplitude perturbation measures. The PH s intensive physical therapy training provides the decrease of the ratio of MPTO/MPTE values, suggesting a greater air leak phonation and the normalization of relations s/z and ė/e, suggesting a greater coordination pneumophonic, may bring benefits to the performance of these popular singers.
Objetivo: Analisar as características vocais, aerodinâmicas e do CF antes e após um protocolo de treinamento intensivo da musculatura que compõe o CF em cantores populares. Métodos: Ensaio clínico randomizado. Amostra composta por cantores populares, divididos em grupo controle (GC) e grupo de estudo (GE), este realizou o protocolo fisioterapêutico de treinamento intensivo do centro de força corporal. Realizou-se comparação antes e após dos Tempos máximos de fonação (TMF), do /ė/ áfono, do nível de pressão sonora, extensão dinâmica, capacidade vital forçada (CVF), da ativação do transverso do abdome e das pressões expiratórias máximas, a análise vocal acústica de fonte glótica foi utilizado o programa Multi Dimensional Advanced Program MDVPA da Kay PENTAX®. Realizou-se também a dos Coeficientes Fônicos Simples, Coeficientes fônicos Compostos, cálculo das relações s/z, entre o e áfono e sonoro (ė/e) e a divisão TMF obtido/previsto. Resultados: No grupo GE houve efeito sobre a CVF, a ativação do músculo transverso do abdome e sobre o Tempo Máximo de Fonação (TMF) /ė/. O GE não apresentou mudanças nas medidas acústicas de fonte glótica, com exceção do aumento de duas medidas de perturbação de amplitude que sugerem instabilidade da PS ou da amplitude da voz ciclo-a-ciclo. Foi verificado modificações estatisticamente significantes das relações s/z e ė/e e redução dos valores da relação TMFO/TMFP. Conclusão: evidenciou-se a melhora de variáveis respiratórias envolvidas na fonação, não foram verificados efeitos sobre as medidas de fonte glótica avaliadas no estudo, com exceção de duas medidas de perturbação de amplitude. O protocolo fisioterapêutico de treinamento intensivo do CF corporal proporcionou a diminuição dos valores da relação TMFO/TMFP, sugerindo maior escape aéreo à fonação e a normalização das relações s/z e ė/e, indicando maior coordenação pneumofônica, podendo trazer benefícios ao desempenho desses cantores populares.

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Laubé, Eric. "Le rôle du locatif privé dans l'habitat populaire : pour un renouveau des politiques du logement (Peshawar, N'Djamena, Cotonou, Calcutta, Dhaka, Conakry, Abidjan)." Paris 8, 1994. http://www.theses.fr/1994PA080948.

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Le role du locatif prive est encore peu etudie. Il represente pourtant un moyen essentiel de logement pour les populations pauvres des villes. L'objectif de la recherche est de montrer l'importance de cette location, les raisons de son importance et de proposer des actions "sociales" integrant la dynamique des bailleurs prives. A partir d'observations realisees dans plusieurs villes d'asie et d'afrique, l'auteur montre que la production publique d'habitat social est reduite et generalement attribuee a des classes clientes du pouvoir. Le logement locatif prive accueille un eventail tres large de citadins, il ne constitue pas uniquement un habitat transitoire precedant l'accession. Parallement a l'importance quantitative du logement loue, les pratiques de locations sont etudiees : elles varient de ville en ville et semblent evoluer dans un sens favorable, ou plus contraignant, pour les locataires. Tandis que l'accession va, pour de multiples raisons, etre de plus en plus hors de la portee des menages au revenus faibles, il devient urgent que l'habitat locatif fasse l'objet d'une attention particulieree. Ce logement qui abrite la majorite des pauvres, et tres generalement de 40 a 80 % des menages d'une ville, ne peut plus etre ecarte des politiques du logement revendiquant l'adjectif de social.

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Lucidarme, Colette. "Jazz et chanson des années trente à la fin du XXe siècle : Trenet, Brassens, Nougaro, des questions de son et de sens." Thesis, Valenciennes, Université Polytechnique Hauts-de-France, 2020. https://ged.uphf.fr/nuxeo/site/esupversions/d572eea3-550e-421b-ac69-8cb6215bae3f.

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Cette étude a pour ambition de cerner la sensibilité esthétique qui s’est développée dans la chanson française depuis le début des années trente au contact des différentes formes de jazz. L’arrivée en France, dès la fin de la Première Guerre mondiale, de nouveaux genres musicaux venus d’Amérique bouscule le paysage artistique ainsi que certaines conceptions esthétiques occidentales. Le jazz questionne la forme dans son rapport au signifié, impose le sonore pour créer du sens et interroge ainsi l’art du début du siècle, savant ou populaire, sonore ou visuel, de Pierre Mac Orlan à Darius Milhaud, Wassily Kandinsky ou Piet Mondrian. Comment la chanson française, genre alors lyrique et contraint, parvient-elle à concilier les nécessités poétiques qui la définissent avec les libertés formelles qui caractérisent le jazz ? Dans le cadre théorique et critique de la cantologie, étude pluridisciplinaire et spécifique de la chanson, et à travers l’œuvre de trois auteurs-compositeurs-interprètes ayant des approches du jazz très différentes, voire opposées, ce travail de recherche consiste à interroger ce qui musicologiquement relève du jazz pour en évaluer l’impact sur les caractéristiques fondamentales de la chanson française, en particulier sur les textes poétiques, la fluctuation des limites entre texte et musique, la conception rythmique et la modernité de l’interprétation vocale et scénique
The present thesis explores the aesthetic sensibility developed in French song as of the early thirties through its contact with different forms of jazz. The change that occurred in France after the Great War, mainly due to new musical genres coming from America, shook the European artistic scene, and more generally Western views on aesthetics. Jazz questions form in its relation to the signified, requires sound to create meaning and thus becomes an essential part in the reflection on the arts in the first decades of the twentieth century, whether high-brow or popular culture, in sound or sight. Examples abound such as Pierre Mac Orlan, Darius Milhaud, Wassily Kandinsky or Piet Mondrian. How does French song, as a lyrical and constrained genre, reconcile its own idiosyncratic poetics with the formal openness of jazz? This study is set within the framework of cantology, the multidisciplinary and specific study of song, and explores the work of three singer-songwriters with significant differences in their approaches to jazz. It examines what from a musicological viewpoint falls into the category of jazz, in order to evaluate the impact it has had on French song, especially on poetic texts, as well as the fluctuating boundaries between text and music, the rhythmic design, and the modernity of the vocal and scenic rendition

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Escamez, Natalia Eugênia Sanchez. "Cantoras eruditas e populares: comparação de características vocais na canção Melodia Sentimental de Villa-Lobos." Pontifícia Universidade Católica de São Paulo, 2015. https://tede2.pucsp.br/handle/handle/12005.

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In the study of a song, it is common that singers come across technical difficulties related to breathing, resonance and sonority. Some of these difficulties can be related to the artist him or herself or to the musical genre. This research sought to investigate aspects that differentiate the singing voice both in classical and popular genres, associating the genre and type of emission with the singer and his or her singing. Objective: to compare acoustic singing emission characteristics of classical and popular female singers in a passage of the song Melodia Sentimental of the composer Heitor Villa-Lobos. Method: ten professional singers, five classical (GE) and five popular (GP) recorded the first strophe of the song Melodia Sentimental (Sentimental Melody) by Villa-Lobos and a passage the six first verses was extracted for the acoustic analysis. Two analyses were made: long-term average spectra (LTAS) and voice onset time (VOT) for two consonants /d/ of the passage. Results: in the LTAS analysis, the classical singers had a prominence within the 2.5kHz and 3.5kHz frequency region, not found in the most part of the popular singers. Regarding the spectral slope, the GE reached flatter curves in comparison to the GP, and the decline numeric value was lower for the classical singers compared to the popular singers. As for VOT analysis classical singers had a lower VOT value when confronted to the popular singers, denoting longer glottal closure time among the popular singers. Conclusion: When comparing the classical and popular singers group regarding acoustic aspects, it was verified that classical singers have both higher energy and lower time on glottal closure compared to the popular singers
No estudo de uma canção, é comum que cantores se deparem com dificuldades técnicas relacionadas à respiração, ressonância e sonoridade. Algumas dessas dificuldades podem estar relacionadas ao próprio artista ou ao gênero musical. A pesquisa realizada buscou averiguar aspectos que diferenciem a voz cantada nos gêneros erudito e popular, associando o gênero e o tipo de emissão com o cantor e sua forma de cantar. Objetivo: comparar características acústicas da emissão cantada de cantoras eruditas e populares em um trecho da canção Melodia Sentimental do compositor Heitor Villa-Lobos. Método: dez cantoras profissionais, cinco eruditas (GE) e cinco populares (GP) gravaram a primeira estrofe da canção Melodia Sentimental de Villa-Lobos, da qual um trecho - os seis primeiros versos - foram extraídos para a análise acústica. Duas análises foram feitas: espectro médio de longo termo (ELT) e voice onset time (VOT) para duas consoantes /d/ do trecho. Resultados: na análise de ELT, as cantoras eruditas tiveram uma proeminência na região de frequências entre 2.5kHz e 3.5kHz, não encontrado na maioria das populares. Em relação à curva do declínio espectral, o GE obteve curvas mais planas comparadas ao GP, e o valor numérico do declínio foi menor nas cantoras eruditas em relação às populares. Na análise de VOT as cantoras eruditas tiveram um menor valor quando comparadas com as populares, o que denota maior tempo de fechamento glótico nas populares. Conclusão: Ao comparar o grupo de cantoras eruditas e o grupo de cantoras populares no que se refere aos aspectos acústicos verificamos que as cantoras eruditas têm maior energia no fechamento glótico e menor tempo de coaptação glótica na comparação com as cantoras populares

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Louckx, Audrey. "Empowering voices: testimonial literature and social justice in contemporary American culture." Doctoral thesis, Universite Libre de Bruxelles, 2014. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209257.

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Within the last three decades, contemporary North America came to reinvent a socially focused genre of literary personal narratives. These new editorial and writing projects, published in the form of collections of personal narratives, emerged as a tool for the socially voiceless to secure some measure of agency in their contemporary social and cultural situation. Projects such as the Freedom Writers’ Diary or volumes of the Voice of Witness book series fit in the process that is currently labeled social empowerment. Witnesses express a deep urge to share their story in the hope to denounce their experience of an enduring social injustice. The written word, primary a means for self-disclosure, serves to exorcise the suffering associated to this specific predicament. The narrators engage in a powerful self-investigative gesture oriented towards resilience and renewed enfranchisement in regaining control over their life and environment. At the moment of publication, however, these testimonies come to be validated as authentic examples of the injustices they disclose. These examples serve an educational purpose: raising the audience’s awareness and opening deliberative fora for these issues to be discussed and for solutions to be hammered out and eventually implemented.

The purpose of this dissertation is to propose a theoretical model for the subgenre of testimonials of social empowerment. With the concept of empowerment as groundwork, the model develops a textual approach framed in a psychosocial structure. I argue that testimonials may be described as examples of Jürgen Habermas’s communicative action. As speech acts aimed at reaching understanding, testimonials capitalize both on the binding and bonding aspects of illocutionary force in the hope to secure with their audience an ongoing dialogue over issues of social justice. The volumes, as unofficial public spheres, mobilize the normative and practical dynamics at work in social movements. These dynamics express as two narrative guiding threads: an aesthetic based on impact, and an ethics based on responsibility. The texts’ aesthetic develops a form of perlocutionary realism instantiating a sense of authenticity and sincerity embodied in the narrators’ voices. The resulting impact is coupled to moral concerns based on a polysemic understanding of social responsibility, on which narrators seek to build their narratives’ ethical potential. A series of case studies allowed to demonstrate that both narrative threads are realized as an appropriation of four paradigmatic forms of rhetorical ethos, each based on a specific realm of the social world: intimacy, justice, spirituality and activism.

Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Boya, Lucien Emmanuel. "Les activités industrielles à Brazzaville (République populaire du Congo)." Rennes 2, 1986. http://www.theses.fr/1986REN20012.

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Kibongui, Raymond. "Médecine traditionnelle et politique économique de santé dans les pays en développement." Dijon, 1994. http://www.theses.fr/1994DIJOE008.

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La situation sanitaire des pays du tiers-monde incite à rechercher une meilleure politique économique de santé pour ces pays. On peut se demander dans quelle mesure la place occupée par la médecine traditionnelle est adaptée aux objectifs vises et aux moyens disponibles. La médecine traditionnelle peut-elle être l'un des arguments d'une politique d'allocation des ressources dans les pays en développement? La première partie de ce travail analyse l'opportunité de la médecine traditionnelle dans les pays du tiers-monde et en particulier dans les pays d'Afrique au sud du sahara. Un constat critique du système sanitaire met entre autre en évidence l'impact défavorable d'une transposition sans nuances des systèmes de sante occidentaux vers les pays en développement. La médecine traditionnelle offre des opportunités mal exploitées susceptibles de contribuer à l'élaboration d'une technologie socio-sanitaire plus appropriée. La seconde partie est consacrée à l'analyse des moyens d'action de la médecine traditionnelle. Quelles sont les modalités de la médecine traditionnelle? Modalités privées individuelles (les tradipraticiens) ou collectives (les communautés religieuses) mais aussi les modalités publiques sous-tutelle des organismes internationaux, des états et des unions nationales de tradipraticiens. Il est possible d'envisager une intégration entre médecine moderne et médecine traditionnelle, qui par le biais des personnels de santé et de la pharmacopée accroissent l'opportunité et valorisent l'efficacité des politiques économiques de santé
The health situation of third world countries incites one the seek a better economic health policy for those countries. One cane wonder in wath way the place occupied by traditional medicine is adapted to the intended objectives and to the means available. Can traditional medecine be on of the arguments of the policy of optimal use of the ressources in developing countries? The first part of this study analyses the opportunity of traditional medecine in third word countries particularly in African countries south of the sahara. A critical observation of the health system brings to the fore, among other things, the unfavourable impact of a complete transposition of the western health systems towards developing countries traditional medecine offers unsufficienly exploited opportunities which have the possibility to contribute to the creation of a more appropriate social health technology. The second part is devoted to the analysis of traditional medicines means of action. What are the forms of traditional medecine? Private and individual forms? (tradipractitioner) or collective ones (religious communities) but also public forms under supervision of international organizations, of states and national unionss of tradipractitioners. It is possible to consider an integration of modern medecine and traditional medecine, which by means of health personnel and of pharmacopoeia increase the opportunity and develop the effectiveness of economic health policies.

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Kitano, Yuuko. "Dramatic Functions of Ballad Performances in Shakespeare’s Tragedies." Kyoto University, 2018. http://hdl.handle.net/2433/232368.

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Kyoto University (京都大学)
0048
新制・課程博士
博士(人間・環境学)
甲第21167号
人博第839号
新制||人||202(附属図書館)
29||人博||839(吉田南総合図書館)
京都大学大学院人間・環境学研究科共生文明学専攻
(主査)教授水野眞理, 教授髙谷修, 准教授桒山智成, 教授丸橋良雄
学位規則第4条第1項該当

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D'Olivo, Fernanda Moraes 1986. "O social no cordel = uma análise discursiva." [s.n.], 2010. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269208.

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Orientador: Suzy Maria Lagazzi
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-17T08:06:33Z (GMT). No. of bitstreams: 1 D'Olivo_FernandaMoraes1986-_M.pdf: 4722998 bytes, checksum: cb98dc13b92fc169e4b6c54cc6e2262d (MD5) Previous issue date: 2010
Resumo: Como o social significa e é formulado na materialidade poética do cordel? Como se dá o funcionamento discursivo do porta-voz nos folhetos nordestinos? Essas foram as duas perguntas que orientaram esta pesquisa de mestrado. Para responder esses questionamentos, selecionamos folhetos que exploram temas como a violência urbana, o uso de drogas, a migração nordestina, a política, o preconceito, o divórcio, o uso de métodos anticoncepcionais e a reforma agrária, entre outros que tratam de questões sociais. Durante a constituição do corpus, pudemos compreender uma forte relação entre o que circula no cordel com o que é veiculado pela mídia. Em nosso percurso analítico, discutimos a reiteração, pelo cordel, de uma voz social que é atravessada, sim, pela voz da mídia, mas também pelas vozes do Estado, da Igreja e da Família. Essa voz social circula pela materialidade poética que constitui o cordel produzindo gestos de interpretação marcados pela poesia da língua. Nossas análises nos mostraram que essa voz é a que legitima certos valores sociais e as relações estabilizadas que são repetidas nos folhetos. Essa voz é a da sociedade dominante, mas se configura, ao ser retomada pelo cordel, como a voz do povo, naturalizando a unidade, como se o povo fosse homogêneo. Equivocidade constitutiva, como nos ensinou Pêcheux! Este efeito de unidade, por sua vez, é o que produz o efeito de que o cordelista é porta-voz do povo. Um efeito discursivo
Abstract: How do social aspects signify and how are they constructed in the poetic materiality of cordel literature? How does the image of the speaker work in the Northeastern booklets? These were the two questions that guided this Master's degree research. To answer these questions, we selected booklets covering subjects such as urban violence, drug use, Northeastern migration, politics, prejudice, divorce, the use of birth control methods and land reform, among other social issues. During the creation of the corpus, we could notice a strong relationship between the subjects dealt with in cordel and what is shown in the media. In the analysis, we discuss the repetition in cordel of a social voice that is crossed by the voice of the media, but also by those of the State, the Church and the Family. This social voice circulates through the poetic materiality that makes up cordel, producing gestures of interpretation marked by the poetry of the language. The analysis shows that this voice is what allows certain social values and the established relationships repeated in the booklets. This is the voice of the ruling society, but, when it is taken over by cordel, it represents the voice of the people, making unity natural, as if the people were homogeneous. Constituting quivocality, as Pêcheux has taught us! This unity effect, in turn, produces the effect that the cordel author is a speaker for the people. A discourse effect
Mestrado
Linguistica
Mestre em Linguística

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Comlanvi, Crinot Lazare. "Maîtrise et appropriation du sol en République Populaire du Bénin : contribution à l'étude du droit de la propriété foncière dans un pays en voie de développement." Orléans, 1986. http://www.theses.fr/1986ORLE0007.

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Comlanvi, Crinot Lazare. "Maîtrise et appropriation du sol en République Populaire du Bénin contribution à l'étude du droit de la propriété foncière dans un pays en voie de développement." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375969976.

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Klein, Eve Elizabeth. "The pomegranate cycle : reconfiguring opera through performance, technology & composition." Thesis, Queensland University of Technology, 2011. https://eprints.qut.edu.au/51175/1/Eve_Klein_Thesis.pdf.

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The Pomegranate Cycle is a practice-led enquiry consisting of a creative work and an exegesis. This project investigates the potential of self-directed, technologically mediated composition as a means of reconfiguring gender stereotypes within the operatic tradition. This practice confronts two primary stereotypes: the positioning of female performing bodies within narratives of violence and the absence of women from authorial roles that construct and regulate the operatic tradition. The Pomegranate Cycle redresses these stereotypes by presenting a new narrative trajectory of healing for its central character, and by placing the singer inside the role of composer and producer. During the twentieth and early twenty-first century, operatic and classical music institutions have resisted incorporating works of living composers into their repertory. Consequently, the canon’s historic representations of gender remain unchallenged. Historically and contemporarily, men have almost exclusively occupied the roles of composer, conductor, director and critic, and therefore men have regulated the pedagogy, performance practices, repertoire and organisations that sustain classical music. In this landscape, women are singers, and few have the means to challenge the constructions of gender they are asked to reproduce. The Pomegranate Cycle uses recording technologies as the means of driving change because these technologies have already challenged the regulation of the classical tradition by changing people’s modes of accessing, creating and interacting with music. Building on the work of artists including Phillips and van Veen, Robert Ashley and Diamanda Galas, The Pomegranate Cycle seeks to broaden the definition of what opera can be. This work examines the ways in which the operatic tradition can be hybridised with contemporary musical forms such as ambient electronica, glitch, spoken word and concrete sounds as a way of bringing the form into dialogue with contemporary music cultures. The ultilisation of other sound cultures within the context of opera enables women’s voices and stories to be presented in new ways, while also providing a point of friction with opera’s traditional storytelling devices. The Pomegranate Cycle simulates aesthetics associated with Western art music genres by drawing on contemporary recording techniques, virtual instruments and sound-processing plug-ins. Through such simulations, the work disrupts the way virtuosic human craft has been used to generate authenticity and regulate access to the institutions that protect and produce Western art music. The DIY approach to production, recording, composition and performance of The Pomegranate Cycle demonstrates that an opera can be realised by a single person. Access to the broader institutions which regulate the tradition are not necessary. In short, The Pomegranate Cycle establishes that a singer can be more than a voice and a performing body. She can be her own multimedia storyteller. Her audience can be anywhere.

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Gourcilleau, Delphine. "Etude des étapes précoces de la mécanoperception chez le peuplier." Phd thesis, Université Blaise Pascal - Clermont-Ferrand II, 2011. http://tel.archives-ouvertes.fr/tel-00653354.

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Afin de survivre dans un environnement fluctuant, les plantes ont développé la capacité de percevoir et de répondre à des stimuli externes divers et parfois extrêmes. Les sollicitations mécaniques jouent un rôle important au cours du développement des plantes et un nombre croissant d'études s'intéresse à la mécanoperception. Le dessin de la voie de signalisation entre la perception du signal et la régulation des gènes précoces reste incertain. Un modèle de la mécanoperception, proposant que la variable mécanoperçue soit la déformation de la membrane, a été vérifié à l'échelle de la plante entière mais doit être validé au niveau cellulaire. Pour cela, et afin d'identifier les acteurs moléculaires précoces de la réponse à la sollicitation mécanique, nous avons analysé la régulation du gène mécanosensible PtaZFP2 sur cultures cellulaires de peuplier. Le gène PtaZFP2 appartient à la famille multigénique des Q-type C2H2-ZFPs codant des facteurs de transcription putatifs et comprenant 16 membres chez le peuplier. Une analyse phylogénétique et l'analyse de l'expression de ces gènes en réponse à différents stress abiotiques ont montré l'existence de deux groupes phylogénétiques. Ils se différencient par des doigts de zinc caractéristiques et deux nouveaux motifs protéiques (MALEAL et LVDCHY) spécifiques à chacun des groupes. Cette étude nous a également permis d'identifier un autre gène, PtaZFP1, proche phylogénétiquement de PtaZFP2 et fortement induit par une flexion. Après avoir mis au point un système de sollicitation mécanique sur cultures cellulaires, nous avons démontré l'implication du calcium, des calmodulines, des jasmonates et du H2O2 dans l'induction précoce du gène PtaZFP2 par un signal mécanique. Nos travaux suggèrent également l'existence d'une interaction entre la NADPH oxydase (enzyme impliquée dans la production d'EAO) et les calmodulines en amont de PtaZFP2. Finalement, des résultats préliminaires suggèrent une localisation nucléaire de cette protéine et une accumulation transitoire au sein des tiges 2h après une flexion. Les outils moléculaires produits au cours de ce travail (anticorps, protéines recombinantes) permettront de comprendre le rôle de PtaZFP2 dans cette voie de signalisation.

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Mazaudier, Eric. "Les soins de santé primaires : réflexions sur les difficultés rencontrées dans leur développement à partir d'une expérience en République du Congo." Bordeaux 2, 1990. http://www.theses.fr/1990BOR23008.

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Godin, Julie. "Initiatives populaires de solidarité internationale, des « bonnes intentions » au « professionnalisme » ? : sociologie d’un groupe professionnel à l’aune du sentiment de légitimité, dans une perspective comparative Belgique / France." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01D094.

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A côté des grandes ONG qui bénéficient d'une visibilité dans l'espace public national, de nombreux citoyens décident, suite à une expérience vécue dans ou avec le Sud (voyage, résidence, adoption, etc.), de « faire quelque chose » pour améliorer les conditions de vie des populations rencontrées et, avec le concours de quelques amis, créent leur propre association de solidarité internationale. Dans un contexte marqué par la recherche d'une meilleure efficacité des interventions menées dans les pays du Sud, leitmotiv de l'injonction à plus de professionnalisme de la part des acteurs, cette thèse étudie les discours et les pratiques de ces citoyens « ordinaires » afin de mettre en lumière le rôle qu'ils jouent dans le champ du développement à travers l'animation de ces « initiatives populaires de solidarité internationale » (IPSI). Plus précisément, dans la tradition interactionniste de la sociologie des groupes professionnels, nous nous intéressons au processus dialectique par lequel les responsables salariés des ONG et les responsables bénévoles des IPSl construisent et définissent leur légitimité d'amateur et de professionnel, en tant qu'acteur de développement. La sociologie de l'action publique nous invite également à étudier l'influence que les pouvoirs publics, par leurs instruments, ont sur la responsabilité et la légitimité des acteurs, sur leurs interactions, sur leur reconnaissance mutuelle. L'injonction externe au professionnalisme provenant également des exigences formulées par les partenaires du Sud, nous nous intéressons enfin, de manière transversale, aux perceptions de ces derniers, dans le cas de projets soutenus au Sénégal
Alongside established, high-profile non-governmental organisations (NGOs), many individuals decide that they need to "do something" to improve the lives of the people they have met (while travelling, living in another country or adopting a child, etc.). These people join forces with a small group of friends to set up their own development organisations (referred, to hereafter as "popular development initiatives", or PDIs). At present, one of the major concerns in international development cooperation is to make development workers more professional in the interest of better aid effectiveness. This thesis therefore looks at the discourses and practices of these "ordinary" citizens, in order to highlight their role and to identify key issues for this sector. More specifically, we study the dialectic process by which NGO staff and PDI volunteers build and define their professional and amateur legitimacy as development actors, through the prism of the interactionist perspective of the sociology of professional groups. We also draw on the sociology of public action to consider how public authorities, through their policy tools, influence the responsibility and legitimacy of these actors, the interactions between them, and their mutual recognition. The need for professionalism also stems from demands by local partners in the developing world, so we have taken an interest in their perceptions in the case of Senegal

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Da, Silva Andréa Betânia. "Entre pés-de-parede e festivais : rota(s) das poéticas orais na cantoria de improviso." Thesis, Paris 10, 2014. http://www.theses.fr/2014PA100031/document.

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Cette thèse étudie la trajectoire de Festivals de Violeiros realisées dans le Nord-est du Brésil, en ayant comme fil conducteur de la recherche la poétique orale, notamment la cantoria improvisée. Pour construire une cartographie des festivals, on réfléchit sur les changements sociaux qui ont motivé l'émergence de cette structure plus moderne, le festival, avec des éléments dirigés au spectacle urbain comme transformation d'une pratique plus traditionnelle, o pé de parede, qui avait lieu dans les régions rurales. Le trajet entre la permanence d'une modalité et le renforcement de l'autre passe par la production de rencontres et de congrès qui occupent les espaces de cantoria improvisée, connu aussi como repente. La première partie, intitulé Improviso e pé-de-parede, met en évidence la nature structurelle de ce type de poésie orale, en mettant l'accent sur le processus de création des vers improvisés, ainsi comme la réflexion sur la performance à partir du trépied: la voix, le corps et l'image, qui module la figure du repentista. On offre également une discussion sur la participation des chanteurs et chanteuses dans l'univers de la cantoria depuis l'enfance, à partir de l'analyse des entrevues réalisées au cours de la recherche. La deuxième partie, intitulée Festivals: entre les routes et les vagues, se concentre sur les festivals et cherche à présenter une trajectoire à partir des événements organisées en Europe et comme le modèle adopté au Brésil a cherché son inspiration dans la manière en vogue dans les festivals de musique populaire brésilienne, par exemple. Bien que la structure était utilisé dans une grande tradition de congrès et de rencontres réalisées encore dans les années 1940, le nom festival n’était adopté que dans les années 1970. La recherche a mis en évidence l'existence de routes qui conduisent le mouvement des festivals. Dans le même temps, il était aperçu des changements dans la configuration des événements, en tranformant l’esthétique par rapport à la viola, au vers et à la voix ainsi que leur inclusion dans le circuit de l’industrie culturelle, encourageant la création de spectacles dirigés à la consommation de masse et de l'utilisation des médias comme réseaux de permanence et d'expansion
This thesis investigates the trajectory of Violeiros Festivals held in Northeast Brazil having as common thread of the research the oral poetry, notably the improvisation singing. To build a cartography of these festivals, the research reflects on the social changes that led to the emergence of this more modern structure, the festival, with elements facing the urban spectacle as a transformation from a more traditional practice, o pé de parede, which occurred in rural areas. The route between the permanence of a modality and the strengthening of other involves the production of meetings and conferences which occupy the spaces of improvised singing, known as repente. The first part, entitled Improvisation and pé de parede, aims at the structural nature of this type of oral poetry, focusing on the process of creating improvised verses, as well as thinking about performance from the tripod voice, body and image, which modulates the “repentista” profile. It also offers a discussion of the involvement of the singers and “cantadoras” with the universe of “cantoria” since childhood, from the analysis of the interviews conducted during the research. The second part, entitled Festivals: between routes and waves, addresses festivals and aims at presenting a trajectory from the events held in Europe and how the model adopted in Brazil found inspiration in the pattern still in practice in Brazilian Popular Music Festivals for example. Although the structure had already been used in a wide tradition of conferences and meetings performed in the 1940s, the noun “festival” started to be adopted only from the 1970s. The research revealed the existence of routes that drive the movement of the festivals. At the same time, there are changes in the configuration of events, changing aesthetics in relation to the viola, the verse and the voice as well as the inclusion in the cultural circuit industry, encouraging the creation of shows geared for mass consumption and making use of the media as maintenance and expansion channels

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Aguiar, Rafael Hofmeister de. "Vozes da literatura luso-brasileira : uma história do improviso poético – dos trovadores medievais aos poetas do Brasil colônia." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/180944.

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Este trabalho percorre uma história das vozes poéticas da literatura luso-brasileira impostadas no improviso poético desde os trovadores medievais até os poetas do Brasil Colônia. Dessa maneira, procura responder se é possível identificar uma continuidade histórica do improviso na poesia lusófona, tendo como objetivo reconstruir historicamente a tradição do improviso poético luso-brasileiro. Essencialmente bibliográfica, a exposição da pesquisa encontra-se dividida em quatro capítulos. O primeiro aborda os princípios epistemológicos para a integração das poéticas orais e populares no interior da literatura luso-brasileira, constituindose como base epistêmica para o desenvolvimento da pesquisa; o segundo, intitulado E se os trovadores medievais fossem repentistas..., volta-se para os trovadores galego-portugueses, enfocando, sobretudo, as cantigas em desafio denominadas de tenções; o terceiro trata das relações entre a poesia popular e tradicional e os poetas cultos do renascimento ibérico com destaque a Camões; o quarto, por fim, versa, a partir das contribuições do capítulo Poetas repentistas da inacabada História da literatura brasileira, de Joaquim Norberto de Sousa Silva (2002), do uso da viola como importante elemento de sociabilização no período colonial brasileiro, em que avultam as práticas poéticas improvisatórias de Gregório de Matos e Domingos Caldas Barbosa Nesses capítulos, o elo de ligação se constituiu na reconstrução histórica do improviso poético, sem apregoar uma origem no sentido etnocêntrico que situa uma cultura como superior a outra, ou em que o improviso, a oralidade e a poesia popular aparecem como resquícios de uma sociedade mais evoluída que as abandonou. Ademais, segue-se o princípio de construir uma análise comparatista e historicizante, procurando observar algumas produções poéticas do passado que hoje só existem em papel e outrora poderiam ter sido compostas e executadas em performance através de experiências contemporâneas como a poesia popular e a cantoria nordestina. Entre referências, destacam-se Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen e Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) e Zumthor (1993, 2010).
This papper tries to make a history of the poetic voices of Luso-Brazilian literature imposed in the poetic improvisation from the medieval troubadours to the poets of Brazil Colony. In this way, we try to answer if it is possible to identify a historical continuity of improvisation in lusophone poetry, with the objective of reconstructing historically the Luso-Brazilian poetic improvisation tradition. Essentially bibliographic, the exposition of the research is divided into four chapters. The first one deals with epistemological principles for the integration of oral and popular poetics within the Luso-Brazilian literature, constituting itself as an epistemic basis for the development of research; the second, entitled And if the medieval troubadours were repentistas ..., turns to the Galician-Portuguese troubadours, focusing, above all, the ditties in challenge called tenções; the third deals with the relations between popular and traditional poetry and the educated poets of the Iberian Renaissance, with a special mention of Camões; the fourth, finally, is based on the contributions of the chapter Improvisational Poets (Repentistas) on the unfinished History of Brazilian Literature by Joaquim Norberto de Sousa Silva (2002), highlighting the viola as an important element of socialization in the Brazilian colonial period, in which the improvisatory poetic practices of Gregório de Matos and Domingos Caldas Barbosa increase In these chapters, the linkage was constituted in the historical reconstruction of poetic improvisation, but without proclaiming an origin in the ethnocentric sense that places one culture as superior to another, in which improvisation, orality and popular poetry appear as remnants of a society more evolved that abandoned them. In addition, it follows the principle of constructing a comparative and historicizing analysis, looking for to observe some poetic productions of the past that now only exist in paper and could once have been composed in performance through contemporary experiences like the popular poetry and the northeastern cantor. Among references, we highlight Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen; Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) and Zumthor (1993, 2010).
Este estudio busca hacer una historia de las voces poéticas de la literatura luso-brasileña impostadas en el improviso poético, desde los trovadores medievales hasta los poetas de Brasil Colonia. Con ello, se procura responder si es posible identificar una continuidad histórica del improviso en la poesía lusófona, cuyo objetivo es reconstruir históricamente la tradición del improviso luso-brasileño. Esencialmente bibliográfica, la exposición de la pesquisa se encuentra dividida en cuatro capítulos. Lo primero, aborda los principios epistemológicos para la integración de las poeticas orales y populares en interior de la literatura luso-brasileña, constituyéndose como base epistémica para el desarrollo de la pesquisa; lo segundo, intitulado “Y si los trovadores medievales fueran repentistas…”, se vuelve hacía los trovadores gallego-portugueses, enfocando, además, las cantigas en desafío denominadas de tenciones; lo tercero trata de las relaciones entre la poesía popular y tradicional y los poetas cultos del renacimiento ibérico con destaque a Camões; lo cuarto, finalmente, versa, a partir de las contribuciones del capítulo Poetas repentistas de la inacabada Historia de la Literatura Brasileña, de Joaquim Norberto de Sousa Silva (2002), destacando la viola como importante elemento de sociabilización en el periodo colonial brasileño, en que se abultan las practicas poético-improvisatorias de Gregório de Matos y de Domingos Caldas Barbosa En esos capítulos, el eslabón se constituye en reconstrucción histórica del improviso poético, pero sin propalar un origen en el sentido etnocéntrico que sitúa una cultura como superior a otra, en que el improviso, la oralidad y la poesía popular aparecen como resquicios de una sociedad más evolucionada que las ha abandonado. Además, se sigue el principio de construir un análisis comparatista e historicizante, procurando observar algunas producciones poéticas del pasado que hoy solo existen en papel y otrora podrían haber sido compuestas en performance por medio de experiencias contemporáneas como la poesía popular y la cantoría nordestina. Entre las referencias, se destacan Frenk (2005, 2006a, 2006b, 2006c, 2006d), Hansen; Moreira (2013), Lemaire (1987, 1992, 1999, 2010, 2015), Lopes (2015), Romeralo (1969) y Zumthor (1993, 2010).

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Kandou, Koumba Marie Josée. "Anthropologie et sauvegarde du patrimoine culturel vivant au Gabon : le rôle des musées." Thesis, Pau, 2019. http://www.theses.fr/2019PAUU1058/document.

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Depuis quelques décennies les musées se sont multipliés ; chaque secteur de la culture, chaque communauté, chaque ville veut le sien, pour le prestige ou pour développer l’activité économique. Aussi la conception du musée a-t-elle évolué dans sa forme, ses objectifs, son organisation, sa gestion. C’est ainsi que sont apparus des enjeux financiers, desquels ont résulté des concepts comme l’entreprise culturelle et ses relations avec le marché, la sauvegarde des collections et leur valorisation par des expositions ouvertes aux différents publics. Alors que le musée devient un élément moteur des politiques culturelles, aussi bien au plan national que local, l’Afrique en général et le Gabon en particulier souffrent d’un retard dans ce domaine, malgré le potentiel qui est le leur. Or un musée sans collection n’existe pas : il doit être un lieu d’exposition ou d’interprétation. Et un musée sans public serait une réserve ou un centre d’étude de collections. C’est à travers la consommation des images de l’histoire dans le temps et l’espace que se forge l’expérience subjective des individus sur la politique culturelle. Cette subjectivité individuelle nous incite à concevoir autrement le musée. Aujourd’hui, cependant, cette révision apparaît compliquée pour un Africain en général et un Gabonais en particulier. En effet, au lieu de s’insérer dans une identité locale plus ou moins homogène et circonscrite au sein de l’identité nationale, il entretient des liens ethniques plus larges en raison des rapports personnels, économiques, professionnels ou financiers qui transcendent quelquefois les frontières géographiques et culturelles de la nation. Ainsi, au Gabon, la gestion du patrimoine culturel doit tenir compte non seulement des retombées de sa valorisation mais aussi des acteurs locaux. Le but est de faire profiter les populations locales des retombées de la valorisation de leur patrimoine. Car, une valorisation non encadrée entraîne un tourisme de masse avec son inconvénient, à savoir l’érosion du patrimoine et des valeurs culturelles, causée par une dégradation soit naturelle, soit humaine. C’est pourquoi il est nécessaire d’instaurer une nouvelle approche qui exige de considérer la gestion du patrimoine culturel comme un facteur de développement local et national
In recent decades, museums have multiplied in most African societies; each cultural sector, each community, each city wants its own, for prestige or to develop economic and tourism activity. As a result, the design of the museum has evolved in its form, objectives, organization and management. This has given rise to financial challenges, from which concepts such as the cultural enterprise and its relationship with the market, the preservation of collections and their enhancement through exhibitions open to different audiences have emerged. As the museum becomes a driving force in cultural policies, both at the national and local levels, Gabon is lagging behind in this area, despite its potential. However, a museum without a collection does not exist: it must be a place of exhibition or interpretation. And a museum without a public would be a reserve or a center for the study of collections. It is through the consumption of images of history in time and space that individuals' subjective experiences of cultural policy are shaped. This individual subjectivity leads us to conceive the museum differently. Today, however, this revision seems problematic, especially for a Gabonese man. Indeed, instead of being part of a more or less homogeneous local identity that is circumscribed within the national identity, it maintains broader ethnic ties because of personal, economic, professional or financial relationships that sometimes transcend the nation's geographical and cultural borders. Thus, in Gabon, the management of cultural heritage must take into account not only the benefits of its enhancement but also local actors. The aim is to enable local populations to benefit from the benefits of the enhancement of their heritage. For, unframed development leads to mass tourism with its disadvantage, namely the erosion of heritage and cultural values, caused by either natural or human degradation. This is why it is necessary to introduce a new approach that requires considering cultural heritage management as a factor in local and national development

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Dissertations / Theses on the topic 'Popular voice'

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