Tesis sobre el tema "Contemporary popular music"
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Viol, Claus-Ulrich. "Jukebooks: contemporary British fiction, popular music, and cultural value". Heidelberg Winter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2772862&prov=M&dok_var=1&dok_ext=htm.
Texto completoBochanty-Aguero, Erica Jean. "Music that moves television music, industrial travel, and consumer agency in contemporary media culture /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851096631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
Texto completoYuan, Xiaorong. "Chinese Minority Popular Music: A Case Study of Shanren, a Contemporary Popular Band". Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461073565.
Texto completoLord, Cristina Danielle. "The influence of popular music in the contemporary classical aesthetic". Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10118887.
Texto completoNewsfeed is a composition for eight performers and electronics, written in 2016. It incorporates elements from popular music, namely in the form of borrowed instrumentation and influx of styles, in its aesthetic. A discussion of the ideologies behind the crossover of popular music within contemporary classical composition prefaces specific examples from recent composers that have also sought to bridge the gap between these two realms of music. The observations of musicologists, as well as artist statements from the composers themselves, justify the philosophical and cultural ramifications of the cross-pollination between popular and art music. The composers discussed in this report use a variety of methods to crossover the two realms, which range from instrumentation, incorporation of popular styles, and references to popular music and contemporary media within their works. Following this is a discussion of popular artists who have made a similar crossover into the art world.
Nicholls, Matthew. "Interactions between contemporary American independent cinema and popular music culture". Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/367385/.
Texto completoFu, Lok-yi Alice. "Contemporary Cantopop reception of crossover music in Hong Kong /". Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B39634334.
Texto completoIncludes Chinese version of questionnaire (leave 132-133), transcript of interviewees in Chinese (leave 134-141) and Chinese texts of translated songs (leave 142-154). Also available in print.
Luckman, Susan Heather. "Party people : mapping contemporary dance music cultures in Australia /". [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16686.pdf.
Texto completoTorres, Nora Gamez. "Living in transition : popular music and social change in contemporary Cuba". Thesis, City University London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544452.
Texto completoAnderson, Lauren. "Investigating audience responses to popular music in contemporary romantic comedy films". Thesis, Aberystwyth University, 2009. http://hdl.handle.net/2160/cc4ece5f-c1df-4198-be56-c7afb3067dcb.
Texto completoJones, Craig Owen. "Y cantorion newydd : a study of contemporary Welsh-language popular music". Thesis, Bangor University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534645.
Texto completoWeidhase, Nathalie. "Abject spectacles : a study of the postfeminist dandy in contemporary popular music". Thesis, University of Roehampton, 2017. https://pure.roehampton.ac.uk/portal/en/studentthesis/Abject-Spectacles(64474fc6-f56f-4bdc-8fab-be706375904c).html.
Texto completoPadua, Daniel A. "The Family 'Playlist': Popular music, age and identity". Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/110533/1/Daniel_Padua_Thesis.pdf.
Texto completoBartlow, Dianne. "On the relationship between altruism and African-American women in contemporary popular music /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2000. http://wwwlib.umi.com/cr/ucsd/fullcit?p9992377.
Texto completoTurner, Gemma Bernadette. "Body movement and sound intensity in Western contemporary popular singing". Thesis, Sydney Conservatorium of Music, 2010. http://hdl.handle.net/2123/17720.
Texto completoRambarran, Sharadai Devi Amparo. "Innovations in contemporary popular music and digital media, and reconstructions of the music industry in the 21st century". Thesis, University of Salford, 2010. http://usir.salford.ac.uk/26874/.
Texto completoGrecu, Diana-Andreea. "Popular Culture and Protest-Contemporary Protest Soundtrack : An Analysis of The Billboard Year End Rock Charts". Thesis, Stockholms universitet, Institutionen för mediestudier, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-120365.
Texto completoStrother, Eric S. "Unlocking the Paradox of Christian Metal Music". UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/9.
Texto completoMcGuinness, Sara E. "Grupo Lokito : a practice-based investigation into contemporary links between Congolese and Cuban popular music". Thesis, SOAS, University of London, 2012. http://eprints.soas.ac.uk/14703/.
Texto completoKazadi, Kanyabu Solomon. "A sociological analysis of the production, marketing and distribution of contemporary popular music by Zambian musicians". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1018933.
Texto completoWhite, Bradford James. "The Clinical Implications of Narcissistic Phenomena in Contemporary Popular Music From a Depth Psychological Perspective". Thesis, Pacifica Graduate Institute, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3737272.
Texto completoPsychologists across disciplines have examined narcissistic phenomena for over a century. Through the lenses of social constructivism and depth psychology, this dissertation illuminates the clinical psychological implications of narcissistic phenomena in American culture through an archival, phenomenological analysis of a specific cultural artifact: the lyrics of contemporary popular music. The importance of music and its critical, co-creating relationship with culture was also emphasized, and the history of narcissistic phenomena, music, and psychology were examined to lay the ground for an archival phenomenological psychological approach. An adaptation of Garza’s (2004; 2011) phenomenological thematic collative procedure was performed on the lyrics of five songs selected annually (between 2009 to 2013) for their cultural significance and potential for revealing narcissistic phenomena. The procedure for analyzing the data revealed a total of 40 thematic threads that were hermeneutically reduced into five primary interrelated categories grounded in the centrality of the speaker’s subjectivity. In each of the archived texts, the data revealed that the speaker was primarily engaged in a project to be above and apart from others. This project was sustained and maintained by the centrality of the speaker’s subjectivity. The hermeneutically reduced, distinct, related thematic threads were referenced and further elaborated upon in a cumulative thematic narrative that disclosed the horizons of narcissistic phenomena in our culture as revealed through popular, contemporary music. A depth psychological approach illuminated and acknowledged the existential crises of narcissistic phenomena, particularly emptiness and meaninglessness, through implicitly trusting that the patient’s own symptomology contains within it the rhizome of healing and wholeness, thus fostering the clinician’s genuine curiosity in the patient, which in turn may allow the patient finally to foster genuine curiosity in themselves, to begin to relate with themselves, and to develop an interest in empathically relating with other human beings.
De, la Peza Maria del Carmen. "Songs, memories and identities : the bolero and sentimental education in contemporary Mexico". Thesis, Loughborough University, 1997. https://dspace.lboro.ac.uk/2134/9626.
Texto completoJordan, Michael y mjordan@iprimus com au. "Melodic Drumming in Contemporary Popular Music: An Investigation into Melodic Drum-Kit Performance Practices and Repertoire". RMIT University. Education, 2009. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20091028.142803.
Texto completoThomas, Sara Ann. "Subjectivity In American popular metal : contemporary gothic, the body, the grotesque, and the child". Thesis, University of Glasgow, 2009. http://theses.gla.ac.uk/644/.
Texto completoHall, Margaret. "Today’s Song for Tomorrow’s Church: The Role Played by Contemporary Popular Music in Attracting Young People to Church". Thesis, Griffith University, 2007. http://hdl.handle.net/10072/365393.
Texto completoThesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Popular Music
Full Text
Hall, Margaret y N/A. "Todays Song for Tomorrows Church: The Role Played by Contemporary Popular Music in Attracting Young People to Church". Griffith University. School of Popular Music, 2007. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20070912.141700.
Texto completoZheng, Yu. ""The Screaming Successor": Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)". Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1479453595002855.
Texto completoMontano, Edward James. "DJs, clubs and vinyl the cultural commodification and operational logics of contemporary commercial dance music in Sydney /". Phd thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/19792.
Texto completoBibliography: p. 291-313.
Introduction -- "Back to this subculture thing": literature review and methodology -- "The crowd went berserk": dance music and club culture in Sydney and Australia -- "Once you find a groove you've got to keep it locked": the role and significance of the DJ -- "There's a great myth about that": DJ culture in Sydney -- "You're not a real DJ unless you play vinyl": technology and formats: the progression of dance music and DJ culture -- "What is underground really?": defining the structure, significance and meaning of dance culture -- "Where are they going to go next?": shifting the focus of dance music studies.
The development of contemporary, post-disco dance music and its associated culture, as representative of a (supposedly) underground, radical subculture, has been given extensive consideration within popular music studies. Significantly less attention has been given to the commercial, mainstream manifestations of this music. Furthermore, demonstrating the influence of subculture theory, existing studies of dance culture focus largely on youth-based audience participation, and as such, those who engage with dance music on a professional level have been somewhat overlooked. In an attempt to rectify these imbalances, this study examines the contemporary commercial dance music scene in Sydney, Australia, incorporating an analytical framework that revolves mainly around the work of DJs and the commercial scene they operate within.--An ethnographic methodological approach underpins the majority of this thesis, with interviews forming the main source of research material. Beginning with a discussion of the existing academic literature on dance culture and dance scenes, an historical context is subsequently established through a section that traces the development of dance culture from an underground phenomenon to a mainstream leisure activity, both within and outside Australia.--The ideas, opinions and interpretations of a selection of local DJs and other music industry practitioners who work in Sydney are central to the analysis of DJ culture herein. Issues discussed include the interaction and relationship between the DJ and their crowd, the technology and formats employed by DJs, and the DJ's multiple roles as entertainer, consumer and educator. The final part of the study gives consideration to the structure of the Sydney dance scene, in regard to the frequently used, but rarely critically analysed, terms 'underground' and 'mainstream'. The thesis concludes with a discussion that challenges the structural rigidity imposed by subcultural theory and scene-based analysis, arguing instead for a greater degree of fluidity in the theoretical approaches taken towards the study of contemporary dance music scenes.
Mode of access: World Wide Web.
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Nilsson, Jimi. "The geographies of Swedish musicians’ work practices : How, when and where Swedish musicians perform work and creativity in the contemporary popular music industry". Licentiate thesis, Uppsala universitet, Kulturgeografiska institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-231164.
Texto completoAlberto, Rita Sofia Grácio. "Gender distorting genre distorting gender : exploring women's rock musicking practices in contemporary Portugal". Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/33397.
Texto completoFu, Lok-yi Alice y 傅樂怡. "Contemporary Cantopop: reception of crossovermusic in Hong Kong". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B39634334.
Texto completoThompson, Shirley J. "Towards a new aesthetic in contemporary instrumental ensemble, vocal and chamber opera composition". Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/13862.
Texto completoGómez, Sobrino Isabel. "Poesia hecha cancion: adaptaciones musicales de textos poeticos en España desde 1960 hasta el 2010". University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367937390.
Texto completoLifter, Rachel. "Contemporary indie and the construction of identity : discursive representations of indie, gendered subjectivities and the interconnections between indie music and popular fashion in the UK". Thesis, University of the Arts London, 2012. http://ualresearchonline.arts.ac.uk/5681/.
Texto completoSantos, Andre Domingues dos. "Cinco cantos de vanguarda: populares e eruditos em luta pela brasilidade moderna". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-08052014-105549/.
Texto completoThis thesis examines five different historical moments when Brazilian popular musicians and high culture intellectual established exchanges and worked together in the construction of discourses about the national being, under strong influence of a cutting-edge set of ideas, ranging between 1924 and 1969. For each of these moments, were elected one representative partnership to be studied. The moments discussed were modernism, Bahias regionalism, bossa-nova, protest song movement of the 1960s decade and tropicalism, whose main representatives artists chosen were, respectively: Marcelo Tupinambá and Mário de Andrade; Dorival Caymmi and Jorge Amado; Antonio Carlos Jobim, João Gilberto and Vinícius de Moraes; Carlos Lyra and Gianfrancesco Guarnieri; Caetano Veloso and Rogério Duprat.
Zevallos, García Hugo André. "El impacto de la teatralidad dentro de los conciertos de música popular contemporánea de género rock psicodélico, glam y progresivo (1970 – 2019)". Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/653208.
Texto completoThe term theatricality is one of the most used words in show business. However, there is some confusion or ambiguity when it comes to separating the use of this resource within different artistic branches. Thus, if it is not well generalized, it is neglected by the common musical artist; as a consequence, the impact that can be caused on the viewer, from the mere corporality of the participants of a staging, has been dismissed. For these reasons, the use and transformation of this resource within the second half of the twentieth century has been contained in this document, so that the adoption of this technique by multiple artists over the decades has been investigated; in order to clarify related terms and publicize one of the most elaborate musical artistic advances within our contemporary age. Theatricality in music is the result of a literary vision, through which the modes of composition, production and execution are expanded. Thus, this comes to be the introduction of new forms in the lyric and in the narrative. Fictional characters are depicted in the quest to dramatically represent a new musical show; the sound, the visual material of the stage and the performance of its physical components are now tools in order to consolidate a new visual and sound set, shared between artist and spectator.
Trabajo de investigación
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.
Texto completoPark, Hyunju. "The global and the vernacular: the appropriation of transnational cultural imagery and the reconstruction of cultural identities in the realm of contemporary Korean popular music". Thesis, Goldsmiths College (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404802.
Texto completoAllen, Matthew. "The belt’s got soul! an investigation into the vocal characteristics of r&b/soul singing and the production of the ‘belt voice’ within this style". Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2024. https://ro.ecu.edu.au/theses/2766.
Texto completoEkanayaka, Tanya Nissani Ilangakkone. "Theorising the practice of language mixing in music : an interdisciplinary (linguistic and musicological) investigation of Sri Lanka's leading genre of contemporary popular song and its community". Thesis, University of Edinburgh, 2011. http://hdl.handle.net/1842/5518.
Texto completoGriffin, Stephanie A. "A qualitative inquiry into how romantic love has been portrayed by contemporary media and researchers". Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1149001149.
Texto completoSenger, Saesha. "Gender, Politics, Market Segmentation, and Taste: Adult Contemporary Radio at the End of the Twentieth Century". UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/150.
Texto completoLinhares, Maria Juliana Figueredo. "O fazer artístico de Escurinho sob perspectiva etnomusicológica". Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8408.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Research on the artistic career of the composer, percussionist and singer Jonas Epifânio dos Santos Neto, known as Escurinho present in the urban music scene in João Pessoa since the late 1980s. To interpret how to weave the threads of popular music during the life of a performer, the theoretical and methodological bases of ethnomusicology (BLACKING, 1995 MUKUNA, 2008, MERRIAM, 1980) dialogue with the bases of the interpretive anthropology (GEERTZ, 2008), history of life (CHIZZOTTI, 2006), the sociological "structuralist constructivism" (BOURDIEU, 1996), philosophy (BAKHTIN, 2006), and visual anthropology (HARTMANN, 2001). The work seeks to understand the history of life, not just as an individual artistic saga, but as a reflection of the trends of urban social movements in local and global level. The results it’s a tour by the music scene of the city of João Pessoa, through Escurinho reports, and the analysis of his work.
Pesquisa exploratória qualitativa, sobre a trajetória artística do compositor, percussionista e cantor Jonas Epifânio dos Santos Neto, conhecido como Escurinho, presente na cena de música urbana de João Pessoa, desde o início dos anos 1980. Para interpretar de que forma se tecem as tramas da música popular no decurso da vida de um sujeito, as bases teórico-metodológicas da etnomusicologia (BLACKING, 1995, MUKUNA, 2008, e MERRIAM, 1964, entre outros) procuraram dialogar com as bases da antropologia interpretativa (GEERTZ, 2008), da história de vida (CHIZZOTTI, 2006), do “construtivismo estruturalista” sociológico (BOURDIEU, 1996), da filosofia (BAKHTIN, 2006). O trabalho busca compreender essa história de vida, não apenas como uma saga artística individual, mas como um reflexo das tendências de movimentos sociais urbanos em nível local e global. O resultado é um perpassar pela cena de música underground da cidade de João Pessoa, através dos relatos de Escurinho, e pelas análises de sua obra.
Cás, Lauro Edson da. "Aspecto lírico-religioso das canções marianas: um estudo sobre as metáforas e metonímias que representam Maria". reponame:Repositório Institucional da UCS, 2009. https://repositorio.ucs.br/handle/11338/415.
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This study analyzes the religious lyrical aspect of three Marian songs, collected from the book Cancioneiro Popular do Imigrante Italiano na Região de Colonização Italiana, and also intends to clarify, using metaphors and metonymies, the representation of Mary. To do that, this study takes into consideration imprescindible issues such as History, Culture, Identity, Religiosity, and Mariology, Metaphors, Metonymies (Conceptual Metaphor Theory) and music. This dissertation is structured upon four chapters as follows: the first chapter links History and Culture, trying to revise some relevant points of the history of the Italian immigration on the RCI in the Northeast Region of our state, focusing on the importance of religion and/or faith since the beginning of that process. Therefore, there is the analysis about the Region, Identity and Religiosity. The second chapter highlights the Cancioneiro Popular and then, the Popular Oral Tradition. Also, it deepens the aspect of popular culture expressed by the songs and brings into evidence the characterization of the Marian Songs (origins, ritualism and devotion of the Italian immigrant). Moreover, it shows some aspects of the Marian devotion, so present and alive within the immigrant, because Mary is described as the mother who is always with her children (the people). The third chapter, in turn, focus on the analysis of aspects of the Conceptual Metaphor Theory , of the Symbolism, and also of the interpretation and research regarding the Virtues, aiming at analyzing the idealized woman´s portrait , or still, the representation of the mother Mary (Madonna). At last, presented in the fourth chapter are the Methodology and the Analysis of the Marian Songs, that is, the analysis of the corpus of songs: Beléssa di Mary, Mary Consolatrice and O Bela mia Speransa that motivate the study. This part follows the method of semantic analysis, based on George Lakoff (and collaborators) that permeates the study of the conceptual metaphors. There is the ethnographic position as well, where is emphasized the field work carried out to know opinions and perspectives of the people, going beyond the researcher´s analysis. After that, the synthesis is done with the obtained results by the research/study.
Melo, Webert Guiduci de. "O que será que será... a visão do Brasil no projeto literário de Chico Buarque de Hollanda". Universidade Federal de Juiz de Fora, 2013. https://repositorio.ufjf.br/jspui/handle/ufjf/1169.
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Essa dissertação focaliza as canções e a literatura de Chico Buarque de Hollanda, um intelectual e um artista totalmente vinculado à produção cultural brasileira das últimas cinco décadas. Chico Buarque construiu uma obra que repensa o Brasil e, ao mesmo tempo, desenha a utopia de uma sociedade mais democrática. Procurou-se, então, identificar as continuidades entre o compositor e o escritor de romance, visto que esta dualidade de persona artística leva a uma tensão interna da crítica em relação ao conjunto de sua obra. Analisamos como a sociedade brasileira é representada socialmente e culturalmente e como os elementos estéticos e críticos, já presentes em suas primeiras canções, permanecem constantes em sua produção artística. Na leitura de Leite Derramado, o destaque será para a representação e função do narrador, e de elementos e personagens, em paralelo com aspectos da estrutura cultural e social brasileira. Ou seja, observando gêneros, forma e temas, buscamos refletir como Chico Buarque de Hollanda pensa o Brasil e expressa esse pensamento em sua obra.
This dissertation focuses on the songs and literature of Chico Buarque de Hollanda, an intellectual and artist totally tied to Brazilian cultural output of the past five decades. Chico Buarque constructed a work that rethinks Brazil and at the same time, draws the utopia of a more democratic society. It was attempted to identify the continuities between the composer and writer of romance, since this duality of artistic persona leads to an internal tension of criticism over the set of his work. We have analyzed how Brazilian society is socially and culturally represented, and how critical and aesthetic elements, already present in his first songs, remain constant in their artistic production. When reading Leite Derramado, the highlight will be for the representation and role of the narrator, and elements and characters, in parallel with aspects of Brazilian social and cultural structure. I.e. observing genres, forms and themes, we reflect how Chico Buarque de Hollanda thinks Brazil and expresses this thought in his work.
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.
Texto completoSpielmann, Line. ""On ne va pas se mettre en arrêt pour ça." : les arrêts maladie, pratiques, discours et représentations dans les secteurs des musiques actuelles et de l'aide à domicile". Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01E042/document.
Texto completoThe purpose of this current doctoral thesis was to investigate sick leave practices and representations, mainly through workers’ discourses and field observation, in the home care and contemporary popular music sectors. The hypothesis is that sick leave is a polysemous, intelligent and moral practice. Polysemous, in the sense that workers give sick leaves various meanings and use them in many different ways: sick leaves protect their health from demanding work environments. They serve as warnings for colleagues and hierarchy, in an attempt to improve collective welfare, to speak out against employer’s hegemony. They can be interpreted as a logical outcome of a given context (mainly poor working conditions and organization), as well as a punishment for the employer or the worker himself. Intelligent, because workers think carefully before they have recourse to sick leave, they assess their ins and outs, analyze the situation, the common practices. They adapt to social norms, at both local and macro-social levels, try when possible to be game changers. Their views and behaviors about sick leaves change over time, they learn from their experience, rethink their positions along their careers (within illness, work, family…), according to the social roles they are expected to endorse. Eventually, sick leaves are a moral practice as workers take into account the consequences of their leave : they behave with « loyalty » towards their colleagues, their clients, their work or their company. They evaluate the legitimacy of sick leaves and use them or not according to this judgment, in the respect or the fight for equity, and the defense of their professional identity and values
Bécue, Aurélien. "Rock et littérature : à l'écoute d'un espace littéraire contemporain : bruits, distorsions, résonances". Phd thesis, Université Rennes 2, 2013. http://tel.archives-ouvertes.fr/tel-00831257.
Texto completoReraki, Fotini. "La musique imaginaire : discours, identités et représentations dans l’enseignement grec contemporain". Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040018.
Texto completoThe present thesis explores the formal space of music education in Greece as an area of confrontation and negotiation of meanings around music. The introduction of Greek traditional music in this educational space serves as a paradigm for a study on “the management of musical otherness”, based on a field survey (participant observation and non-directive interviews) which focuses in particular on the conditions of cohabitation between teachers-musicians with different musical trajectories, thus on the conditions of cohabitation between learning practices, discourses and imaginaries which sometimes intertwine, sometimes they compete with one another. In this regard, the ultimate aim of this work is to bring to light that the ways individuals represent music and everything related to it, form a symbolic system referring to the manner in which they define and situate themselves in relation to others
Menezes, Potiguara Curione. "Que som é esse? Diálogos culturais refletidos em processo composicionais na música brasileira contemporânea". Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/27/27158/tde-31052017-114521/.
Texto completoThe theme of this work is the interrelation of art music composers with musical cultures around the world, from the 20th century onwards. The focus concerns on the compositional aspects that were developed from this exchange. The main research cutting is the production of the Brazilian composers from the 80s. Additionally, other periods were commented on, to deal with the processes involved in the cultural interrelations in a broader way, be it in terms of inspiration, influence, appropriation and representation of elements of theses cultures, or in what concerns to conceptual questions of affectivity, originality, authenticity, identity and sociocultural domination. For this purpose, primarily, bottlenecks related to the modes of interrelation and incorporation, as well as to the terminologies found in the literature were discussed. Next, a contextual panorama of the occurrences of these exchanges in the erudite repertoire, national and international, was proposed. Finally, a series of Brazilian authors\' work analyses is presented, composed in the last 35 years. It is intended to demonstrate that both the creative possibilities and the critical discussion of the issues arising from these encounters among cultures expand in equal proportion, be it in its potentiality and complexity, or in its paradoxical and controversial character. And that happens in a context of extreme cultural interaction, entangled by the plurality of ideas related to the processes of globalization.
Corneloup, Bernard. "Génération MPB : filiations, dialogues et ruptures : Mouvements musicaux et dynamique socioculturelle dans le Brésil contemporain". Thesis, Lyon 2, 2012. http://www.theses.fr/2012LYO20087/document.
Texto completoIn 1958, a new musical genre appears in Brazil: the Bossa nova, which looks like a revolution in the traditional musical landscape. Twenty years later, 1978 is the year of political openness, Chico Buarque, poet musician who dominated the decade through his songs as well as his resistance against the millitary dictatorship, launches an album on which he records some songs that were censored until then. This event puts an end to a period of great artistic creativity, punctuated with social and cultural changes, statements of intents, ruptures, standpoints on the political or cultural life of the country, which often are one. These twenty years witnessed the appearance of the most striking figures of Brazil’s 20th century music scene, and of the acronym whereby the urban song gained respectability: MPB, initials of Música Popular Brasileira. Rooted in tradition though defending itself from it, exchanging with outside influences which it influences as well, distancing itself till the rupture of the movements of which it was the closest, today this generation seems to us much more united and limited in time than it thought it was. That’s why the time has come, with historical perspective, to look at the musical production of that period with fresh eyes, in order to define the characteristics that unite and distinguish it at the same time
1958, nasce no Brasil un gênero musical novo, a Bossa Nova, que se anuncia comme uma revolução na paisagem musical. Vinte anos depois, 1978, é o ano da "Abertura" política, Chico Buarque, poeta músico que dominou a década tanto pelas suas canções como pela sua atitude de resistência contra a ditadura, lança um disco no qual ele grava músicas até então proibidas pela censura. Esse acontecimento conclui um período de intensa criatividade artística, acompanhada por grandes mudanças sociais e culturais, declarações de intenções e rupturas, tomadas de posição em relação com a vida política ou cultural do país, que muitas vezes faz uma só. Esses vinte anos viram emergir as figuras mais marcantes da canção brasileira do século XX, concomitantemente à sigla pela qual a canção urbana moderna foi consagrada : MPB, iniciais de Música Popular Brasileira. Ancorando-se na tradição sem reivindicá-lo, dialogando com as influências externas que ela influencia por sua vez, demarcando-se até à ruptura dos movimentos que lhe eram próximos, essa geração nos aparece hoje muito mais unida e circunscrita no tempo do que ela o percebia. Por essa razão, o tempo veio, com o recuo histórico, de questionar com um olhar novo a produção musical daquela época, para definir as características que a unificam e distinguem ao mesmo tempo