Tesis: "Popular music"

1

Nott, James. "Popular music and the popular music industry in interwar Britain". Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324242.

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2

Ross, Gordon. "Popular music analysis". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.

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3

Wise, Timothy Elbert. "Yodelling in American popular music". Thesis, University of Liverpool, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428246.

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This is a study of yodelling as a musical and cultural signifier. A definition of yodelling and a typology useful for the description of the various yodel phenomena heard in English-language popular music are proposed. Yodelling is then considered in a chronological sequence, beginning with abstract yodel signs in European instrumental classical music where these tended to signify pastoralism, idealism, and other ideas relating to romantic conceptions of the self. A discussion of yodelling in light classical and popular music through the nineteenth century follows. The differing ideologies associated with "art" music and "popular" music are discernible in attitudes toward the yodel during this time. The Americanisation of yodelling in terms of both its musical-formal manifestations and the ideas it articulated through these are discussed before considering yodelling's role in both the hillbilly and the cowboy genres. The emphasis throughout is upon the semiotic aspects of yodelling which I characterise as the difference between the" rough" and the" smooth". The yodel seems always to be associated with what is rough: peasants, shepherds, hobos, and hillbillies. This distinction between rough and smooth has a correlative in the very creation of the sound in the sense that the production of yodelling is a rejection of the orthodox classical singing styles with their cultivation of the "smooth" transition between vocal registers. The result for the yodel has been its thorough ironisation over the middle years of the twentieth century, as an emerging cool aesthetic could no longer countenance it.

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4

Man, Oi-kuen Ivy. "Cantonese popular song in Hong Kong in the 1970s : an examination of musical content and social context in selected case studies /". Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20566013.

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5

Wong, Chi-chung Elvin. "Making and using pop music in Hong Kong /". Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18736439.

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6

Huang, Chun-Ming. "Mediated music, mediated nations : Taiwanese popular music in China". Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/28985.

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Taiwan’s pop music is enormously popular in China. This study aims to probe the reasons for this success as it has taken place against a backdrop of hostile political relations between the Taiwanese and the Chinese. The study explores the ways in which Chinese people and the Chinese media have negotiated and practised the work of ‘imagined communities’ through the consumption of Taiwan’s pop. It focuses on the cultural-political struggles of Taiwan’s pop in China, its mediation, and consumption as a cultural practice. The study suggests that deliberative mediation and a sociable mediation are able to coexist through the process of music consumption. The study has used a variety of research methods, including semi-structured interviews of Chinese audience-members; documentary, media and historical analysis; desk research; and a six-month period of observation in Beijing. It examines the experiences of 26 Chinese audience members living in Beijing or Taiwan who are fans of the ‘Little Freshness’ style of music. Four important media texts are discussed: 1) Chinese Central Television’s (CCTV’s) New Year’s Gala (1984–2014); 2) the magazine People’s Music(1980–2007); 3) Li Wan’s book, How Much Time has Gone By, the Forgotten Sorrow: Sixty years of Songs Across Three Places: China’s Mainland, Hong Kong and Taiwan (2012); 4) Zhang Lixian’s edited volume, Archaisms: Luo Dayou (2000). Using the concept of mediation, the study highlights the significance of a ‘structure of feeling’ (Williams, 1961) to identify how the ‘multi-mediated’ process of consumption of Taiwan’s pop is made up of emotion, conflict and negotiation from the interplay of relations between Taiwan and China. This has emerged as a combination of musical mediation and political mediation, a combination which, in turn, moved from the cultural consumption of Taiwan’s pop towards the practice of the political. The study reflects on related approaches to see their limits and problems when applied to the study of Taiwan and China, and proposes that music consumption requires the engagement of the biographies of both the audience-members and the musical work in order to ‘activate’ the social use of music. It draws on Williams’s concept of common culture as well as Mouffe’s idea of agonistic pluralism to suggest that participation in, and interpretation of, Taiwan’s pop may further propel both Taiwan and China towards commonly held, yet contested, cultures - in other words, that their citizens may come to possess plural cultural citizenships.

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7

Williams, Zaneh M. "American Influence on Korean Popular Music". Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/500.

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South Korea is internationally well known for its ethnic and cultural homogeneity, economic and technical success, and strong sense of nationalism. The peoples of South Korea have flourished economically after a series of colonizations, industrialization and political chaos. Over the past few decades, Korea has gained interest internationally for its entertainment industry through the Korean Wave (or Hallyu in Korean). Korean Wave is a term that refers to the increase in the popularity of South Korean culture since the late 1990’s due to Korean music, television shows and fashion. The Korean Wave first swept and captivated the hearts of citizens in East and Southeast Asia and now has expanded its popularity beyond Asia and has captivated millions of people all over the world. After a steady increase in cultural exports as a result of the Korean Wave since 2005, the Korean Tourism Organization (KTO) has realized the value in the exportation of Korean culture and goods and has now created programs that capitalize on this popularity and increase tourists South Korea. Korean popular music or K-Pop is a large and profitable aspect of the Korean Wave. According to CNBC in Move Over Bieber — Korean Pop Music Goes Global “The [k-pop] industry’s revenues hit about $3.4 billion in 2011, according to the Korea Creative Content Agency (KOCCA), a government group that promotes the country’s cultural initiatives. K-pop’s exports also rose to $180 million last year — jumping 112 percent compared to 2010. Exports have been growing on an average annual rate of nearly 80 percent since 2007.” And that “for every $100 of K-Pop exports, there was an average increase of $395 worth of I.T. goods such as cell phones or electronics that were being exported” (Naidu-Ghelani). The exportation of K-pop music and cultural can be seen as an economic success story. But in fact, for the Black American community it is the exportation of cultural appropriation and the degradation of Black American culture. The Korean Wave is packaging, promoting and exporting a “window into Korean culture, society and language that can be as educational as a trip to Korea. South Korea is using the Korean wave to promote its traditional culture within Korea and abroad” (“Hallyu, the Korean Wave” 1). Despite South Korea’s strong sense of nationalism and cultural homogeneity, its pop music has a distinct Black American musical influence. Rap and hip-hop musical style/culture (which is distinctly affiliated with representative of Black Americans) is an integral, if not necessary, part of Korean popular music. The synchronized dance moves, attractive idols and “rap/hip hop” style draws in millions of fans from every walk of life all over the world. The “hip hop” dance moves, clothing and lyrics that dominate Korean popular music, however crosses the line of cultural appreciation and instead can be defined as cultural appropriation.

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8

Lakhani, Ali Moneim. "Popular Music and Adolescent Sexual Health". Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366767.

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Background There is public concern about the impact that exposure to sexual content in music is having on the sexual health of adolescents. In particular, exposure to sexual content in music has been identified as adversely impacting young people’s behaviour, and attitudes towards gender. In contrast, popular music has also been identified as a culturally appropriate tool to engage young people in sexual health education and promotion programs. By taking a broad definition of sexual health, this dissertation addresses knowledge gaps especially in regards to gender and body image. Consequently, this dissertation includes three studies focusing on the relationship between exposure to sexual content in popular music and adolescent sexual health, as well as the use of music in adolescent sexual health promotion. Method This dissertation includes three studies. The first study is a systematic literature review guided by the PRISMA (Moher, Liberati, Tetzlaff, & Altman, 2009) approach. The review involved three systematic searches for literature and aimed to synthesise: (i) research that investigated the association between exposure to music with sexual content and adolescents’ sexual behaviour, body image satisfaction, and attitudes towards gender, and (ii) research that explored the use of popular music for adolescent sexual health education and promotion initiatives. The second study involved the administration of a cross-sectional survey (n=565) and investigated the association between exposure to sexual content in music audio and video on adolescents’ attitudes towards women and their perception of their body image. Finally, the third study included group interview discussions and interviews with adolescents’ (n=7) to ascertain the messages that they receive from the music they listen to, how they thought exposure to these messages impacted their sexual health and how they thought popular music could be used in their sexual health education.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Human Services and Social Work
Griffith Health
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9

Stephan-Robinson, Anna. "Form in Paul Simon's music /". Digitized version, 2009. http://hdl.handle.net/1802/11554.

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Thesis (Ph. D)--University of Rochester, 2009.
Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/11554

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10

Gaydos, Thomas Joseph Odo. "Popular Music in the Paterson, New Jersey General Music Classroom". Thesis, The William Paterson University of New Jersey, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10827718.

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This project seeks to discover ways to effectively use popular music in the general music classroom in order to have lessons be more culturally relevant, give students a better understanding of musical concepts, and increase engagement. The research methods for this thesis included review of various articles, a survey (see appendix C), and personal experience as a general music teacher. My research suggested ways for music teachers to use popular music in the general music classroom in order to keep lessons culturally relevant, give students a better understanding of musical concepts, and increase engagement. A one unit curriculum centered on popular music in the general music classroom was created using the Understanding by Design curriculum template (see appendix D). This research is important to the field of music education because effective use of popular music can help music educators in their goal of having their students understand musical concepts and be engaged throughout lessons.

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11

Matula, Theodore. "A rhetorical schema for studying popular music". Connect to resource, 1998. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1229692187.

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12

Gilmore, Abigail. "Popular music in the city : an examination of local music scenes, popular music practice and cultural policy in the city of Leicester". Thesis, University of Leicester, 1999. http://hdl.handle.net/2381/30731.

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This thesis examines popular music in the city of Leicester. It looks at local popular music practice through the activities, values and structures of support associated with local music scenes and music industry. It explores the ways in which popular music contributes to city life through the activities of particular groups involved in the production and distribution of music in Leicester. It also considers how local governance structures influence and shape music practice through cultural policy and municipal government and regulation. Using the concepts 'music scene' and 'music community' I consider how participation in popular music in the city is organised around particular sites, activities, coalitions and alliances. The production and localisation of identities, values and economies through popular music practice are considered via case study and through examination of the relationship between public sector supported initiatives and different social and music communities. In particular, I focus on the ways in which popular music is thought to represent different social groups and how this representation is an important element of local cultural policy. The social function of popular music in marking and contributing to social and cultural identity (Frith 1987) is examined in the context of urban communities and identities, and in terms of its propensity to facilitate public celebration and display of diverse ethnicities in a multicultural city. I consider the history of provision for popular music and recent policy initiatives in Leicester in comparison to other examples of urban cultural policy, which are offered as a framework for considering different strategies for urban regeneration and animation through the popular music sector. In doing so, I question the relationship between cultural value and cultural policy and discuss issues associated with local music scenes and identities and the influences on local music policy and practice.

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13

Stahl, Matthew Wheelock. "Reinventing certainties : American popular music and social reproduction /". Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3244179.

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14

Harvey, Sandi K. "The analysis of Okinawan popular music and identity in relation to other studies of southeast Asian popular music". Thesis, Wichita State University, 2010. http://hdl.handle.net/10057/3720.

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This research attempts to use the creation of popular music in Okinawa as a symbolic resource to reveal attributes related to the making of identity. Popular music in non-Western societies is a useful unit of analysis that can explain how people respond to cultural change and can tell us much about cultural values. The origin of identity studies is both historical and political by nature. However, socio-cultural functions can further expand our understanding of both cultural and political resistance. Popular music as identity is not static and is always in flux. Identity addresses the ongoing relationship between the global (capitalized market) and the local (maintenance of cultural heritage). Negotiation between the two is explained through the use of imagined communities and the concept of place and space. Only through a historical, social, political and economic context is identity making fully realized. The functions of popular music are expressive behaviors which shape and are shaped by social, historical, political and economic experiences. In using the comparative method, the lyrical content and other important features of Okinawan popular music will be contrasted with other Southeast Asian studies. This research will highlight similarities, but will also reveal distinct differences between the formation of identity in both Okinawan and other Southeast Asian communities.
Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of Anthropology.

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15

Ongyod, Anthony. "Popular music and communication in interpersonal relationships". Thesis, University of Hawaii at Manoa, 2003. http://hdl.handle.net/10125/7114.

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This research investigates how people use popular music, particularly wedding songs, to communicate. Participants were gathered at a bridal expo who either "Have a Wedding Song" or have "Witnessed a Wedding Song". Results indicate that people do indeed communicate using music. Interpersonal partners have a wedding song because a wedding song is symbolic, tradition, expresses feelings, important, and romantic. Couples chose a particular song for their wedding because the appointed song expresses the couple's feelings, has sentimental value, is representative of the relationship, has meaningful lyrics, and sounds good. The most important messages communicated in a song were: "I love you", "I want to be with you", and "I want everyone to know how I feel". The most important emotions were: "Love", "Warmth", and "Happiness". Finally, wedding partners generally communicate to their partner or to both their partner and the audience. Implications and directions for future research are discussed.
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16

Behr, Adam. "Group identity : bands, rock and popular music". Thesis, University of Stirling, 2010. http://hdl.handle.net/1893/3051.

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Since rock became the subject of academic study, its attendant ideology has been scrutinised and its mythical and Romantic components exposed. Largely absent from this account has been a thorough analysis of the phenomenon of the ‘band’. The role of individual acts and the wider contexts in which they worked has been discussed at the expense of an examination of an important form of music-making. This thesis seeks to address that gap. Using a mixture of literary research and ethnography, I present an overall picture of the band as a modus operandum, charting its evolution during the emergence of rock and presenting evidence that it has become a key means by which people enter and engage with the field of popular music. I suggest that debates about ‘authenticity’ in rock, in seeking to see through industry rhetoric have overlooked the way in which creativity in bands is closely connected to social interaction. My historical analysis brings to light the way in which the group- identified band has become embedded into popular music practice through the power of narratives.Two case studies, contextualised with archival material and interviews, form the basis for a model for collective creativity. By demonstrating how social action and narrative myth feed into one another, I argue that the group identity of a band is the core of the industrially mediated texts to which audiences respond. Our understanding of how authenticity is ascribed in popular music, and rock in particular, has paid too much attention to genre-based arguments and not enough to musical and social methods. I propose a way of revising this to take better account of rock as an actual practice.

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17

Lee, Christopher Paul. "Popular music making in Manchester (1950-1995)". Thesis, Manchester Metropolitan University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336818.

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18

Harper, A. C. "Lo-Fi aesthetics in popular music discourse". Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:cc84039c-3d30-484e-84b4-8535ba4a54f8.

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During the late twentieth and early twenty-first centuries, 'lo-fi,' a term suggesting poor sound quality, the opposite of 'hi-fi,' became a characteristic perceived in certain popular-music recordings and eventually emerged as a category within independent or 'indie' popular music. It is typically taken to express the technical and technological deficiencies associated with amateur or 'DIY' musical production, namely at home using cheap recording equipment. However, this thesis rejects the assumption that lo-fi equates to a mode of production and charts it as a construction and a certain aesthetics within popular music discourse, defined as 'a positive appreciation of what are perceived and/or considered normatively interpreted as imperfections in a recording.' I chart the development and manifestation of lo-fi aesthetics, and the ways it focuses on various 'lo-fi effects' such as noise, distortion ('phonographic imperfections') and performance imperfections, in several decades of newspapers, magazines and websites covering popular music in the English-speaking world. I argue that lo-fi aesthetics is not merely the unmediated, realist authenticity that it is often claimed to be, but one that is also fascinated with the distance from perceived commercial norms of technique and technology (or 'technocracy') that lo-fi effects signify. Lo-fi aesthetics derives from aesthetics of primitivism and realism that extend back long before phonographic imperfections were positively received. I also differentiate between lo-fi aesthetics and aesthetics of noise music, distortion in rock, glitch, punk and cassette culture. An appreciation for recording imperfections and the development of 'lo-fi' as a construction and a category is charted since the 1950s and particularly in the 1980s, 1990s and in the twenty-first century, taking in the reception of artists such as the Velvet Underground, Bob Dylan, Hasil Adkins, the Shaggs, Jandek, Daniel Johnston, Beat Happening, Pavement, Sebadoh, Guided By Voices, Beck, Will Oldham, Ariel Pink and Willis Earl Beal.

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19

Crozier, Hugh Ian. "Structures of meaning : popular music and society". Thesis, Goldsmiths College (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336392.

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20

Bochanty-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.

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21

Ossorio-Bermudez, Julissa. "Unveiling popular music? : a study of how Muslim girls in Belfast negotiate gender and religion through popular music listening". Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558177.

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Music within Islam has been a subject of dispute for centuries. Some believe that music is haram, or totally prohibited. Others believe that depending on its context and lyrics, it may be halal, or allowed. Gender plays an important role in this discussion, as sometimes concepts of femininity transmitted through Western popular music may go against particular Muslim ideals. Inspired by this debate, this thesis is an ethnographic analysis of a sixteen-month fieldwork experience that took place in Belfast, Northern Ireland, in which I explored how young Muslim females living in this city constructed and embodied their gender identity and religious identities through popular music. This research revolves around two key issues: the ways in which popular music mediated concepts of sexuality and femininity amongst Muslim teenagers and young women; and the extent to which their music listening choices affected and reflected who they were or were expected to be. The sample for this research included females between 13 and 47 years old, who were either born Muslims or converts. At a time when the number of young Muslims in Europe is constantly increasing and when more and more British nationals are converting to Islam, this research sheds light on the multiple negotiation processes young Muslim females in Belfast experience to make sense of their religious and gendered identities through their engagement with popular music.

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22

Kajikawa, Loren Yukio. "Centering the margins black music and American culture, 1980-2000 /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930277371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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23

Yuan, 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.

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24

Bennett, James Andrew. "Popular styles, local interpretations : rethinking the sociology of youth culture and popular music". Thesis, Durham University, 1996. http://etheses.dur.ac.uk/1570/.

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25

Green, Ben. "Peak music experiences: A new perspective on popular music, identity and scenes". Thesis, Griffith University, 2017. http://hdl.handle.net/10072/372598.

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Peak music experiences are those experiences involving music that stand out as especially affecting, meaningful and memorable for the individuals involved. They are a common topic in discussions of popular music, including in journalism, biography and fan culture, where they are often credited as pivotal in people’s relationships with music and their lives more generally. Examples of peak music experiences are apparent in some previous scholarly studies of popular music cultures, however, this is the first dedicated investigation of the phenomenon. By analysing this way of thinking and talking about music, this thesis contributes to understandings of how music’s meaning and effects are constructed, the role of musical experience in identity and sociality, and the discursive structuring of individual and collective experience in music scenes. The thesis draws on ethnographic research conducted in 2015 in the local music scene of Brisbane, Australia, including participant observation in activities of music consumption and production, reviews of secondary data sources including popular music media, and in-depth interviews. Interviews were conducted with 44 women and men between the ages of 23 and 58 who participated in Brisbane’s dance, hip hop, indie and rock ‘n’ roll music scenes. This research provides the basis for a grounded exploration of peak music experiences, as well as a contemporary ethnographic study of these scenes, demonstrating the methodological value of peak music experiences for music scene research. The findings are broadly divided into themes of identity and belonging. In the first part, peak music experiences are shown to be epiphanies through which self-narratives are constructed. This involves common tropes including first encounters, gateway experiences and conversion experiences, which offer discursive shape for the construction of identity through popular music and highlight common and divergent priorities between popular music cultures. In particular, these narratives enable and encourage people to present their relationship to music as personal, authentic, and aligned with specific cultural values. It is common for music scene participants to credit peak music experiences with inspiration and influence on their musical activities as well as other aspects of their lives. Analysing these claims highlights the crucial importance of affect in people’s responses to music and therefore its social agency. This analysis also responds to the important but under-explored question of why some people grant music a central status in their lives, as musicians, fans and in other roles, investing considerable resources and organising their social lives around it. Peak music experiences provide motivation to sustain social commitments and activities, as embodied experiences, memories and sought-after ideals. The second part considers the role of peak music experiences in belonging and collective identity. At the micro-social level, peak music experiences can both reflect and inform relationships between family, friends and romantic partners. At a larger scale, the music scene participants interviewed attributed peak music experiences most often to live and collective music events, reflecting the status accorded to these in both popular culture and scholarly research. These specifically celebrated instances of live music reveal what people value most in that context and how this differs between groups. Most notably, live music enables the exploration and celebration of individual and collective identity, including uncommon expressions of the self, resulting in especially affecting, memorable and meaningful musical experiences. Thus peak music experiences help to account for the special status of live music. Finally, the role of peak music experiences in music scenes is considered. Individuals’ peak music experiences contribute to and are shaped by collective memory in the Brisbane dance, hip hop, indie and rock ‘n’ roll music scenes. This informs ongoing practices in the scenes, which are defined partly by the shared priorities and ideals that are apparent in and reproduced by the peak music experiences of participants.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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26

Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985". Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.

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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.

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27

Nunes, Pedro. "Popular music and the public sphere : the case of Portuguese music journalism". Thesis, University of Stirling, 2004. http://hdl.handle.net/1893/24.

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Music journalism has been acknowledged as an important space of mediation between artists and consumers. Journalists and critics have played an historical role in the creation of discourse on popular music and are acknowledged by the music industry as an important referent in promotion strategies. Research on the subject has been mostly focused either on the relationship between music journalism and the wider music industry in which it operates or on its status as a field of cultural production. Little consideration has been given to the role played by music journalists in articulating popular music with wider political, social and cultural concerns. This thesis will examine the case-study of Portuguese popular music journalism. It will address its historical evolution and current status by taking into consideration some dimensions, namely, the wider institutional contexts that frame the status of music journalism and how they work upon it, the ideologies and values realised in journalistic discourse, the journalists’ relationship to the music industry (as represented by record labels/companies and concert promotion companies) and issues of interactivity with readers. The thesis will draw on theories of the public sphere and, to a lesser extent, on Bourdieu’s notions of field, capital and habitus to assess the possibilities for music journalism to create reasoned discourse on popular music and, therefore, contribute to wider debates on the public sphere of culture.

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28

Rivel, Charley. "Wagakki and Japanese Popular Music: The Perception of Music and Cultural Identity". Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193443.

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This study focuses on the connection between cultural identity and Japanese popular music. It contains conducted interviews and semantic analyses on musicians who use Japanese traditional instruments and Western instruments in their repertoire. It uses performativity theory as theoretical framework. The analyses are divided in to the three levels of Sauter’s phenomenological path: the symbolic level, the sensory level and the artistic level. It concludes how musicians in Japan perceive their own musical identity, and gives insights on the role of cultural identity in Japanese music. The potential significance is to contribute to identity studies using a performativity perspective as explained above, and thereby elucidating both musicological and historical aspects.

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29

Ensign, Jeffrey S. "Form in Popular Song, 1990-2009". Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822808/.

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Through an examination of 402 songs that charted in the top 20 of the Billboard year-end charts between the years 1990 and 2009, this dissertation builds upon previous research in form of popular song by addressing the following questions: 1) How might formal sections be identified through melody, harmony, rhythm, instrumentation, and text? 2) How do these sections function and relate to one another and to the song as a whole? 3) How do these sections, and the resulting formal structures, relate to what has been described by previous theorists as normative? 4) What new norms and trends can be observed in popular song forms since 1990? Although many popular songs since 1990 do follow well-established forms, some songwriters and producers change and vary these forms. AAA strophic form, AABA form, Verse-Chorus form, Verse-Chorus with Prechorus and/or Postchorus sections, Verse-Chorus-Bridge form, “Other, with a Chorus” and “Other, without a Chorus” forms are addressed. An increasing number of the songs in each of the above listed forms are based on a repeating harmonic progression or no harmonic progression at all. In such songs, the traditional method of identifying sections and section-functions through harmonic analysis is less useful as an analytical tool, and other musical elements (melody, rhythm, instrumentation, and text) are as important, if not even more so, in determining the form of songs in the sample.

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30

Polychronakis, Ioannis. "Song odyssey : negotiating identities in Greek popular music". Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669839.

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31

Attas, Robin Elizabeth Sturton. "Meter as process in groove-based popular music". Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33822.

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The various genres of North American popular music developed since the 1950s are distinctive for their use of short repeating accompanimental patterns called grooves. Such groove-based popular music often includes many distinctive metrical features that cannot be reflected in standard hierarchical representations of metric structure, such as polyphonic textures, anacrusis, and syncopation. As a result, one crucial aspect of an important modern musical practice has been analytically underappreciated. The processual theory of meter developed by Christopher Hasty offers an alternative analytical framework that, by characterizing meter in terms of particular and constantly changing durations unfolding in time, has the potential to illuminate the important metric features of grooves in a range of popular music genres. By using and further developing such a comprehensive metrical model, popular music scholars can move beyond an existing vernacular that is often inadequate for in-depth musical discussion, and connect analytical observations to an in-time, felt experience, whether in dancing, listening, or performance contexts. In order to fully explore the benefits of this approach to meter in groove-based popular music, this dissertation analyzes a diverse sample of the repertoire from several perspectives. After a general introduction and establishment of the methodological approach, Chapters 3 and 4 detail metric aspects of specific genres of popular music (disco and Motown), while Chapter 5 focuses on a specific technique of groove composition, the buildup, that occurs in a wide range of musical genres. Chapter 6 incorporates the information gained in the preceding chapters into an analysis of a modern groove composition by Janelle Monáe. Throughout, particular metric features of the groove mentioned above are described and theorized in detail, as is the definition of the groove itself. Metric theory is also augmented with deeper consideration of the interplay of repetition and forward drive; listener shifts in attention among durations of different sizes (level shift); and the role of timbre and production techniques in metric interpretations.

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32

Walker, Seth. "Musical Spirituality: The Transformative Power of Popular Music". Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1050.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Humanities
Humanities

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33

Dowsett, Andrew Christopher. "Theology in discography : the Bible in popular music". Thesis, University of Sheffield, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301265.

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34

Gammon, V. A. F. "Popular music in rural society : Sussex 1815-1914". Thesis, University of Sussex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370433.

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35

DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music". Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.

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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.

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36

Robins, Jeremy M. "Phrase Structure, Hypermeter, and Closure in Popular Music". Thesis, The Florida State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262010.

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Phrases in common-practice music are traditionally defined by harmonic processes, particularly goal-directed progressions to tonic. In popular music, however, harmonic motion toward a tonic is not always present, making traditional approaches to phrase segmentation problematic. The goal of this dissertation is to provide a systematic methodology for addressing phrase segmentation and closure in popular music, particularly in the absence of goal-directed harmonic motion. Additionally, I aim for simplicity of application and consistency of results.

Because contemporary popular music is heavily focused on vocal melodies and lyrics, it is important to use a methodology that privileges melodic activity in classifying formal structures. My methodology for phrase segmentation is based on patterns of melodic repetition, particularly in reference to recurring quadruple hypermeter. With a consistent method for segmenting phrases, cadences can be identified and classified, allowing for comparison of closure in popular songs.

This research aims to engage the musical syntax of popular music on its own terms while drawing on the rich resource of common-practice analytical methodologies. There are many theoretical concepts and terms that carry into popular practice such as periods, sentences, and cadences; however, the transfer is not always exact, resulting in some concepts that are loosened or expanded, such as allowing subdominant (IV) and subtonic (bVII) harmonies to support half cadences. New categories of phrase structure and cadences are also necessary to accurately describe popular music, specifically rotated phrases, rotated subphrases, and submediant cadences, none of which have established analogues in common-practice scholarship. In rotated phrases and subphrases, lyrical content is displaced from melodic repetition, creating formal ambiguity. Submediant cadences occur as part of the submediant double-tonic complex (DTC), where tonal fluidity is created between relative major and minor keys. Songs featuring the submediant DTC fluctuate between the major and minor rotations of a single diatonic collection, allowing cadences that articulate the major and minor modes simultaneously.

This dissertation represents the first step of a longer process of studying, classifying, and presenting the musical syntax of popular music. The methodology has the potential to address the wide spectrum of popular music, and I trust that it will be a useful tool for scholars working in the field of popular music scholarship.

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37

Padua, 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.

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Popular music is central to the understanding of youth culture and has come to represent the so-called 'generation gap'. This thesis, however, argues that popular music is no longer just a signifier of generational tension. It is now an increasingly significant cultural resource that allows parents and their children to establish and maintain family relations. Using interviews from families who are fans of Queen or Taylor Swift, this research investigates how shared practices around popular music consumption contribute to a cohesive family identity.

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38

Holman, Jones Stacy Linn. "Music for torching". Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3037501.

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39

Percival, James Mark. "Making music radio : the record industry and popular music production in the UK". Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/362.

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Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio programmers and record industry pluggers, and an ethnographic investigation into the use of specialist music radio programming by alternative pop and rock artists in Glasgow, Scotland. The research has four main conclusions: music radio continues to be central to the record industry's promotional strategy for new commercial recordings; music radio is increasing able to mediate the production practices of the popular music industry; that mediation is focused through the social relationship between music radio programmers and record industry pluggers; cultural practices of musicians are developed and mediated by consumption of specialist music radio, as they become part of specialist music radio.

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40

Aitken, Shelagh Elizabeth. "Music and the popular press : music criticism in Paris during the First Empire /". Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598311.

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Diss.--Philosophie--Evanston, Ill., 1987.
Réunit des articles du Journal des débats, du Journal de Paris, du Journal de l'Empire et du Moniteur universel en français avec la trad. anglaise en regard. Bibliogr. p. 433-444.

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41

McReynolds, Robert Timothy. "The influences of American popular music upon twentieth-century song and chamber music". College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3088.

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42

Freire, Guilherme Araujo 1987. "Vanguarda, experimentalismo e mercado na trajetória artística de Tom Zé". [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285314.

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Orientador: José Roberto Zan
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-27T18:13:44Z (GMT). No. of bitstreams: 1 Freire_GuilhermeAraujo_M.pdf: 3785916 bytes, checksum: 7074b9f4c38144853c89de9e6f856bab (MD5) Previous issue date: 2015
Resumo: Este trabalho aborda e problematiza as diferentes fases da carreira artística do compositor e intérprete Tom Zé, situadas entre o lançamento do seu primeiro LP em 1968 e o final da década de 1990. Estabelecendo como foco central sua produção musical, concebida com uma postura crítica frente a certos cânones e padrões da canção de massa consolidados no mercado e com práticas criativas experimentais análogas às do repertório das vanguardas do pós-guerra, investigamos a relação tensa estabelecida entre o seu projeto estético experimental e a indústria cultural. Nesse sentido, a pesquisa tentou situar os discursos e quatro discos de Tom Zé nos respectivos contextos históricos e configurações da indústria fonográfica, buscando compreender melhor as especificidades de sua inserção no mercado de música popular, suas estratégias de atuação, o sentido de suas opções estéticas, bem como investigar as transformações ocorridas no seu projeto estético ao longo de sua trajetória
Abstract: This work broaches and problematizes the different phases of the artistic career of the composer and performer Tom Zé, located between the release of his first LP in 1968 and the late 1990¿s. Establishing as central focus his music production, conceived with a critical posture towards certain canons and mass song patterns consolidated in the market and with experimental creative practices analogous to the repertoire of the postwar avant-garde, we investigated the tense relationship established between his experimental aesthetic project and the cultural industry. In this sense, the research tried to position the discourses and four discs of Tom Zé in the respective historical contexts and configurations of the phonographic industry, seeking to better understand the specifics of his insertion in the popular music market, his acting strategies, the sense of his aesthetical options, as well to investigate the transformations occurred in his aesthetical project throughout his career
Mestrado
Música, Teoria, Criação e Prática
Mestre em Música

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43

Szemere, Anna. "Pop culture, politics, and social transition /". Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820881.

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44

Goldschmitt, Kariann Elaine. "Bossa mundo Brazilian popular music's global transformations (1938-2008) /". Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1905631301&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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45

Metts, Charles Rodney. "Charting the margins: subversive practices in popular forms /". The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487849377294712.

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46

Chaly, Maya Ann. "Perspectives on popular music analysis, towards a standarized approach". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0003/MQ46557.pdf.

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47

Breault, Ainsley. "Native noise: Māori popular music and indigenous cultural identity". AUT University, 2010. http://hdl.handle.net/10292/927.

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This thesis argues that Māori popular music, regardless of genre, is a valuable resource in the formulation of a vibrant and relevant Māori rangatahi (youth) identity. Specifically, the research investigates the complex relationship between popular music, social space, and Māori culture and community in Aotearoa. The researcher interviewed six participants from within the Māori music community and practiced participant observation at popular music events. The findings of this qualitative research are framed by an in-depth literature review into questions of Māori identity, as well as an application of ethnomusicology theories on the relationship of music to place and community. The research output includes both a 30-minute documentary and this accompanying exegesis, which frames the documentary within relevant fields of scholarship and presents a critical analysis of its successes and weaknesses. The researcher elected to create a documentary in recognition of the medium’s ability to maintain the voice of the research participants, capture the dynamism of the Māori popular music scene, and increase the potential for the research to reach a wider audience. The use of documentary also allows for an exploration of the relationship between music and documentary, and begins a discussion on the potential of socially-conscious rockumentaries to reveal crucial social issues. Finally, the exegesis questions the ethics of outsider filmmaking, and explores how the concept of ‘Kaupapa Māori filmmaking’ influenced the process of making the film.

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48

Gamboa, Vera Caisip. "Revolution girl style now, popular music, feminism, and revolution". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61431.pdf.

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49

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.

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50

Maciel, Katia Augusta. "Film, popular music and television : intertextuality in Brazilian cinema". Thesis, University of Southampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494969.

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The thesis examines the effects of the cross-fertilisation between cinematic, musical and televisual texts on depictions of two emblematic Brazilian social space - the favela (shantytown) and the sertão (arid backlands) - in recently released independent and mainstream domestic productions. I argue that through processes of intertextuality recent Brazilian films have gradually transformed the favela into a widely exposed, lucrative but also productively challenging spectacle. Similarly, the iconicity of the sertão has been resignified allowing a new understanding of the region to emerge. My analysis of recent films set in either the favela or the sertão also proposes that different elements, such as traditional and modern, local and non-local cultural forms, are not simply blended into a single hybrid filmic text. As these elements coexist and traverse the cinematic landscape in the contemporary moment, I insist on the fact that the idea of national culture, in Brazil as well as elsewhere, must be considered in relation to ever-changing contexts rather than in relation to prescriptive ideologies. My research contributes to reassessing Brazilian cinema history by exploring key examples of the aesthetic, constitutional and cultural interaction between popular media in the country. The reassessment allows me to challenge established distinctions between art and popular cinema, to propose more productive ways of understanding how different media can support their mutual development, and to highlight the implications of intertextuality for new expressions of brazilidade (Brazilianness). The discussion is based on an intertextual analysis of four recent domestic films: Cidade de Deus (City of God, 2002), Lisbela e o prisioneiro (Lisbela and the Prisoner, 2003), O invasor (The Trespasser, 2001) and Baile perfumado (Perfumed Ball, 1997). I examine elements of the mise-en-scène (mainly set design and performance), editing and soundtrack to identify cross-media references.

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Tesis sobre el tema "Popular music"

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