Thèses : « Music televisions »

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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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Harwood, Julie D. « The construction of meaning in Hollywood and music video editing aesthetics, a comparison between the pre-television and music television generations ». Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0008/MQ52462.pdf.

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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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Farmer, Ajia. « Pop ! Goes the music : a content analysis of popular music in prime-time television commercials ». Thesis, Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/812.

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Tung, Yu-Ting. « Nodame Cantabile : A Japanese Television Drama and its Promotion of Western Art Music in Asia ». Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1229915111.

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Andrésson, Charlotta. « Music Television : en TV-kanals förändring i ett nytt medieklimat ». Thesis, Uppsala University, Media and Communication, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-106760.

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Purpose/Aim: The purpose of this essay is to analyze and discuss how MTV is affected by the development that takes place on the world’s media market. The aim is also to see how MTV’s target group’s image of the channel can give guidelines in how MTV should act in this new media era.

Material/method: I have examined the development on the media market and then created a model consisting of relevant factors that could affect a TV-channel today. Those factors and the two factors image and profile are then applied on MTV. I have done three interviews with people who work at MTV Networks Nordic and one interview with a person who used to work there. I also arranged three focus groups with members within the target group of MTV (15-24 year). The questions for all of the interviews were based on theories relevant to this study.

Main results: The results from the interviews and the focus groups showed that the profile and the image of MTV did not agree completely. An example of that is that the staffs of MTV saw the channel as a youth channel while the target group saw it as a music channel. MTV seems to go from being a niche channel to becoming a broader channel, a move that is quite unusual on today’s media market where niche marketing is the main strategy for TV-channels. People within the target group 15-24 uses the Internet more than TV an average day, and the younger members of my focus groups used the Internet more than the older ones. None of the members of the target group watched TV on their mobile phone but they assumed that younger kids would use it a lot in the future. All agreed upon that MTV was a suitable channel for mobile-TV.

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Hutchins, Christine Elizabeth. « Contextual Analysis of Meaning Through Adolescent Viewing of Music Television ». The Ohio State University, 2002. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392908720.

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Huisman, Rhonda. « Visual music : a study on the role of music in South African children’s television programmes from 1976 − 1994 ». Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80289.

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Thesis (MDram)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: This study is aimed at providing useful insights into the field of audiovisual perception and understanding in South African children’s programmes, as well as demonstrating how the Congruence-Associationist framework can be of use when investigating these aspects. Music serves as an important element in children’s television programmes, as it is often used to subconsciously stimulate the viewers’ senses. The purpose of this study is to provide a more complete image of the role of music within the context of South African children’s television programmes from 1976 − 1994, using ethnographic research with a focus on case studies. In the first part of the study, a base is formed for analysing music by addressing general roles of music in audiovisual context, as well as children’s development of musical perception and a possible clarification of its origins. Its origins appear to be closely related to language and could explain why music fulfils such a significant role in a variety of interactive contexts. The Congruence-Associationist framework by Annabel Cohen is used as a suitable framework of analysis of music in children’s television by adapting and expanding it into three sections: the observation phase, the interpretation phase and the results phase. In the second part of the study, case studies and scene analyses of six selected children’s programmes are conducted, according to the three sections of the adapted framework of analysis. The findings indicate that music functions in multiple ways according to the focus of the programme, and that it fulfils an appealing and recognisable role in these programmes. It is argued that music serves to support the visuals on screen, influences the general interpretation of the viewer and ultimately provides understanding while facilitating learning. This information could be used in a variety of subjects, thus opening up endless possibilities for further research into the multiple roles of music.
AFRIKAANSE OPSOMMING: Hierdie studie is daarop gerig om nuttige insigte op die gebied van oudiovisuele persepsie en begrip in Suid-Afrikaanse kinderprogramme te verskaf, asook aan te toon hoe die ooreenstemmings-assosiatiewe raamwerk (Congruence-Associationist framework) van Annabel Cohen van nut kan wees wanneer hierdie aspekte ondersoek word. Musiek dien as ‘n belangrike element in die kindertelevisieprogramme, aangesien dit dikwels gebruik word om onbewustelik die sintuie van die betrokke kykers te stimuleer. Hierdie studie poog om ‘n meer volledige beeld van die rol van musiek te verskaf binne die konteks van Suid-Afrikaanse kindertelevisieprogramme vanaf 1976 − 1994. Dit word gedoen met behulp van etnografiese navorsing met ‘n fokus op gevallestudies. In die eerste deel van die studie word ‘n basis gevorm vir die analise van musiek, deur die algemene rol van musiek binne oudiovisuele konteks te bespreek, asook die ontwikkeling van kinders se musikale waarnemingsvermoë en ‘n moontlike verduideliking van die oorsprong van musiek. Die oorsprong van musiek blyk verwant te wees aan taal en kan moontlik die rede wees waarom musiek so ‘n belangrike rol in ‘n verskeidenheid interaktiewe kontekste speel. Die ooreenstemmings-assosiatiewe raamwerk word gebruik as ‘n geskikte raamwerk van ontleding vir musiek in kindertelevisie deur dit aan te pas en in drie afdelings uit te brei, naamlik die waarnemingsfase, die interpretasiefase en die resultaatfase. In die tweede deel van die studie word gevallestudies en toneelontledings van ses gekose kinderprogramme gedoen volgens die drie afdelings van die aangepaste ontledingsraamwerk. Die bevindinge dui daarop dat musiek op vele maniere funksioneer, afhangende van die fokus van die program, terwyl dit ook ‘n aantreklike en identifiseerbare rol in hierdie programme vervul. Daar word aangevoer dat musiek dien om die visuele beeld te ondersteun, die algemene interpretasie van die kyker te beïnvloed en uiteindelik begrip te verskaf terwyl die leerproses vergemaklik word. Hierdie inligting sou gebruik kon word in ‘n verskeidenheid onderwerpe wat weer eindelose moontlikhede vir verdere navorsing in die veelvuldige rolle van musiek blootlê.

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Creighton, Chie-wei Eve. « MTV Asia headquarters ». Hong Kong : University of Hong Kong, 1996. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25951361.

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Paxton, Sue. « A Content Analysis of Violence in Music Videos ». Thesis, North Texas State University, 1985. https://digital.library.unt.edu/ark:/67531/metadc501107/.

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This content analysis study of music videos answered questions concerning the amount and severity of violence content during different time periods of the day. A system of classifying violence content as nonviolent, mostly light, neither light nor serious, mostly serious, and extremely serious was used to evaluate music videos from MTV. One hour from each day was randomly selected for evaluation for a period of thirty days. During this time, there were 313 occurrences of music videos which were aired and subsequently evaluated. The results indicated the majority of these music videos contained mostly light or no violence content. This study also revealed that the most likely time of day a viewer would see videos with violence would be from midnight until eight in the morning.

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Enkenberg, Roland, et Anders Grentzelius. « Det svenska medialandskapet i förändring : en fallstudie av musikvideokanalen MTV ». Thesis, Linköping University, Department of Thematic Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2420.

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This is a case study of the music channel MTV and it’s impact on the Swedish mediascape. We want to look into the process that lies behind this huge intercontinental corporation. Through literature studies we present the mechanism’s that paved the way for MTV growing into the number one music channel of modern time. To investigate how MTV was received in Sweden, we analyse articles taken from databases providing us with essential information about how Swedish journalist’s debate the issue. To show an assumed development within the Swedish mediascape we are using two different time periods, the first represents the year 1993 through to 1995 and the second, 2000 through 2003. These time periods are also used within statistical research included in this paper. This part shows the differences between MTV and other music channels that are competitors in the Swedish mediascape. Altogether these parts helps us to bring out topics that hopefully gives answers to our main quandary – what kind of effect has MTV had on the Swedish mediascape?

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Berrios, Cynthia Gredel. « The design, implementation and production process of creating a viable series of Latin shows in Hollywood, Florida ». FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1711.

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The purpose of this research was to design and implement a Series of Latin Shows to be featured at the Satine Restaurant located in The Diplomat Hotel in Hollywood, Florida. Three shows were created: "Electro Tango," "Bossa Nova Jazz," and "Piel Canela Night" to help generate interest for not only the Satine Restaurant but also for the surrounding area. The artistic concept included big bands, costumes, dancers and a DJ. A production book was created and included the most important aspects of the individual shows such as budgets, costumes, and ground plans, to assure the success of each event. Careful analysis was done for the demographic area and a marketing plan was designed and implemented. The research and practical application of similar shows in the industry determined that the production of these particular shows, although costly, have a qualifiable chance to succeed in this venue.

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Love-Tulloch, Joanna K. « Marketing American identity : the role of American classical music in television advertising / ». abstract and full text PDF (free order & ; download UNR users only), 2006. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1440922.

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Thesis (M.A.)--University of Nevada, Reno, 2006.
"December, 2006." Includes bibliographical references (leaves [92]-[94]). Online version available on the World Wide Web. Library also has microfilm. Ann Arbor, Mich. : ProQuest Information and Learning Company, [2006]. 1 microfilm reel ; 35 mm.

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Deaville, James. « Selling War : Television News Music and the Shaping of American Public Opinion ». Bärenreiter Verlag, 2012. https://slub.qucosa.de/id/qucosa%3A72045.

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Wilson, Cathi C. « The effects of background music on viewer's perceptions of political campaign television advertisements / ». free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3099646.

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deDeugd-McComas, Inez S. « I Lost my Life in Long Term Parking ». University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1250691957.

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Pillich, Gualberto Simeon. « Invisible virtuosi the deskilling and reskilling of Hollywood film and television studio musicians / ». Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1971760581&sid=11&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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Mitra, Sukanya. « A study of the impact music videos have had on production techniques in relation to network television programs and commercials ». Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1986. http://www.kutztown.edu/library/services/remote_access.asp.

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Turner, Jacob S. « An examination of sexual content in music videos ». Access to citation, abstract and download form provided by ProQuest Information and Learning Company ; downloadable PDF file 0.51Mb, 223 p, 2005. http://wwwlib.umi.com/dissertations/fullcit/1428252.

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Hall, Sarah. « The television music of Trevor Jones : using an audio-visual archive to explore scoring processes ». Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/19885/.

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This thesis examines Trevor Jones’s scoring processes that relate to his narrative television projects. In recent years, Jones has donated a large, unique collection of materials relating to his film and television productions to the University of Leeds, which form the Trevor Jones Archive. These materials consist of aural, textual, visual and notational resources, and offer the opportunity to explore many nuanced details pertaining to the industrial and musical processes that formed Jones’s television scores. In addition to the archival materials, this thesis is informed by interviews with Jones and his working team, and is contextualised by the literature surrounding the television industry and its scoring practices. Jones has composed original scores for programmes produced predominantly by the American and British television industries, and transmitted by a number of advertising and non-advertising broadcasters that operate within these industries. Furthermore, Jones has written scores for a range of programme forms, including stand-alone telefilms and multi-episodic miniseries and series. All of these factors have influenced his industrial processes when writing for television, and the archive illuminates the many ways they have done this. Jones’s musical processes are also considered, in terms of the compositional devices he employs. The findings of the thesis demonstrate that Jones’s television scoring practices undergo many industrial processes that are unique to television, and share many musical processes with his scores for cinema. Furthermore, they highlight the many changes that both of these processes have undergone since Jones’s earliest narrative television production until the most recent that is contained in the archive – a period that spans thirty years of the television industry.

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Mathias-Baker, Ian. « The musical object in consumer culture ». Thesis, University of Southampton, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327584.

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Tipping, Roy. « The history and practice of the presentation of art music performance on BBC television, 1936-1982 ». Thesis, De Montfort University, 2002. http://hdl.handle.net/2086/4314.

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This thesis traces the history of the presentation of art music performance on BBC television including concerts, operas and ballets and analyses the ways found to present them. The background to the initial programming policies on BBC Television is analysed with reference to the art music activities on BBC Radio before 1936. The novel methods of televising art music are described: there were no precedents for live multi-camera shooting. Until the creation of commercial television in 1955, BBC Television broadcast about two hours of art music performance each week. From 1955 to 1963 the output of art music performance halved and the influence of Lionel Salter, Head of Music Productions, BBC Television, is traced. The creation of BBC-2 led to a revival in art music programmes and the contribution of Humphrey Burton, Head of Music and Arts, BBC Television, to restoring the amount of art music performance is considered. Early scripts and archived programmes have enabled critical evaluation to be undertaken. This analysis has shown that the first producers of art music programmes regarded their main function as giving viewers the feeling that they were watching performances from the 'best seat in the house': the concept of the objective 'relay'. As musically trained producers emerged, there was a gradual change from the relay to that of involving the viewers as unseen participants in the performances. It is shown that art music performance programmes became the subjective interpretations of the producers involved. Salter said that only musically trained producers who could fluently read music would be capable of fully communicating its structure in television programmes. The truth behind this maxim is fully investigated and the conclusion drawn is that successful presentation of art music performance on television is easier for musically trained producers but a few others without musical qualifications have shown themselves capable of producing equally satisfactory and authoritative programmes.

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Nichols, Donald Nealson. « Investigating percussion through television news : an analysis of the Breaking news program / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307167.

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Thesis (D.M.A.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed July 7, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 104-105.

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Croatto, Leonardo Ivan <1959&gt. « Musica, Cinema e identità nel Río de la Plata ». Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amsdottorato.unibo.it/8723/1/Croatto_Leonardo_tesi.pdf.

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La costruzione dell’identità culturale come problema centrale in contesti geografici periferici, vista dalla prospettiva che emerge dalla zona d’incrocio tra musica e produzione cinematografica nella regione del Río de la Plata, delimitata dalle due città capitali dell’Argentina e l’Uruguay. Verranno analizzate tre situazioni particolari: l’inserzione del tango nel cinema, in quanto elemento locale fortemente identitario, focalizzata sulla produzione di uno dei più noti compositori argentini del XX secolo, Astor Piazzolla, artefice del rinnovamento linguistico del tango e autore di numerose colonne sonore. A partire dal contesto culturale nel quale si inserisce la sua biografia musicale, si analizzeranno due film emblematici nella storia dell’Argentina, realizzati nell’importante momento storico della transizione dall’ultima dittatura all’attuale democrazia: TangosEl exilio de Gardel e Sur (Fernando Solanas, 1985, 1988). L’arrivo del rock come genere musicale straniero nel contesto del Rio de la Plata negli anni Sessanta, le trasformazioni culturali che esso comportò viste attraverso la sua presenza cinematografica e la nascita del “giovanile” in quanto nuovo soggetto, centrale nello sviluppo della cultura di massa alle origini della globalizzazione. Il rapporto locale/globale nella costruzione di un “Rock Nacional” con caratteristiche identitarie proprie, in bilico tra produzione artistica e industria culturale. Si analizzeranno due film rappresentativi di questa svolta, che rendono conto di vari elementi chiave in questo processo: Nacidos para cantar (Emilio Gomez Muriel, 1965), El extraño de pelo largo (Julio Porter, 1969). L'interazione tra musica e cinema nel contesto della cinematografia nazionale nell’Uruguay (dallo sviluppo relativamente tardivo), le sue caratteristiche particolari e la sua funzione culturale nell’ambito di un paese condizionato dalle sue piccole dimensioni, peculiarità identitarie e limitazioni economiche, che nonostante questo configurano un particolare profilo culturale che incide sul contesto rioplatense e latinoamericano. A tal proposito, verrà analizzato un film di genere documentario incentrato sulla canzone d’autore uruguaiana: Hit (Claudia Abend, Adriana Loeff, 2009).
Cultural identity as a central problem in peripheral geographic contexts, from the perspective that emerges at the intersection of music and film production in the Río de la Plata region, bounded by the two capital cities of Argentina and Uruguay. Three specific situations will be considered: the usage of tango in cinema, as a strongly identifying local element, focusing on the production of Argentinian musician Astor Piazzolla, author of the linguistic renewal of tango, and composer of numerous soundtracks. Starting from the cultural context in which his musical biography is inserted, two emblematic films will be analyzed, regarding the historical transition from the last dictatorship to the current democracy in Argentina: TangosEl exilio de Gardel and Sur (Fernando Solanas, 1985, 1988). The arrival of rock as a foreign musical genre in the context of Rio de la Plata in the sixties, the cultural transformations that it involved seen through its cinematographic presence, and the birth of "the young" as a new subject, central in the development of mass culture in the origins of globalization. The local/global relationship in the construction of a "Rock Nacional" with its own identity characteristics, poised between artistic production and cultural industry. We will analyze two films representative of this shifting point, which account for several key elements in this process: Nacidos para cantar (Emilio Gomez Muriel, 1965), El extraño de pelo largo (Julio Porter, 1969). The interaction between music and cinema in the context of national cinematography in Uruguay, its particular characteristics and its cultural function within a country conditioned by its small size, identity peculiarities and economic limitations which, despite this, form a particular cultural profile that affects the rioplatense and Latinamerican contexts. In this regard, a documentary film based on Uruguay's author song will be analyzed: Hit (Claudia Abend, Adriana Loeff, 2009).

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Vorster, Izel Alet. « The influence of sonic logos in television advertisements : a neuromarketing perspective ». Thesis, Stellenbosch : Stellenbosch University, 2015. http://hdl.handle.net/10019.1/97892.

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Thesis (MComm)--Stellenbosch University, 2015.
ENGLISH ABSTRACT: When engaging in brand-building, marketers often appeal to consumers’ senses. However, one of the senses which has often been ignored by marketers is the consumer’s ability to hear. This state of affairs is puzzling, as sound in its various forms can play a central role in brand-building (Krishnan, Kellaris and Aurand, 2012). Using sound as a strategic marketing tool is known as sonic or audio branding. Sonic branding is defined as the strategic use of sound to create a distinctive auditory identity for a brand (Krishnan et al., 2012). The general idea is to utilise sound and music more consciously to create a link between the consumer and the brand and to not only use music to support an advertisement (Groves, 2012). Successful sonic branding creates triggers that disrupt existing patterns, attract the consumer’s attention and remind the consumer of positive experiences with the brand (Beckerman and Gray, 2014). In-store music, jingles and sonic logos are examples of audio elements that can be used as sonic branding tools. A sonic logo is a small piece of music or sound that is connected to the brand (Groves, 2012) and is sometimes perceived as the auditory counterpart of the visual logo of the brand (Krishnan et al., 2012). Despite the fact that sound has the ability to influence different areas of consumer behaviour (Krishna, 2012), there is limited information available on how a brand can utilise sound strategically to create a unique identity for a brand and how a sonic logo ought to be selected. Research on the subject is limited because sound is often processed at an emotional subconscious level and traditional research methods cannot measure the influence of sound on the emotional response of the consumer. Using traditional research methods to investigate the impact of sound in branding is also subject to potential measurement error. One of the key benefits of using neurophysiological research methods is to narrow the “say” versus the “do” gap in consumer behaviour research (Van Praet, 2012:22) and to investigate the influence of stimuli on emotions. The purpose of this study is to understand how sonic logos are processed by the consumer at an emotional subconscious level. Television advertisements for vehicle and electronic brands were used to assess the subconscious impact of the sonic logos used at the end of six advertisments. The neurophysiological research methods used for data collection were electroenchepalography (EEG), electromyography (EMG) and galvanic skin response. The results revealed a significant difference between how males and females emotionally processed the sonic logos of certain brands (EMG). This differentiation ought to be taken into consideration when selecting an audio element for a brand. The emotional responses of the participants towards the sonic logos did not indicate a long-term effect (EEG). This could suggest that the way in which certain brands are currently using sonic logos is not necessarily effective in creating a long-term emotional connection.
AFRIKAANSE OPSOMMING: Bemarkers fokus gereeld op die sintuie wanneer die identiteit van handelsmerk geskep word. Die vermoë van die verbruiker om te hoor word egter grotendeels geïgnoreer. Die situasie is verbasend, aangesien klank ŉ belangrike rol kan speel in die bou van ŉ handelsmerk (Krishnan, Kellaris en Aurand, 2012). Die strategiese gebruik van klank in bemarking staan bekend as “sonic branding”. Dit word gedefineer as die strategiese gebruik van klank on ‘n unieke identiteit vir ‘n handelsmerk te skep (Krishnan et al., 2012). Die algemene idee is dat bemarkers meer bewus van musiek en klank behoort te wees, dit strategies gebruik en nie slegs as agtergrond musiek vir ‘n advertensie nie.As musiek of klank susksesvol gebruik word, sal dit die aandag van die verbruiker trek en hom/haar herinner aan positiewe ervarings met die handelsmerk (Beckerman en Gray, 2014). Musiek, “jingles” en die klank-merk van ŉ handelsmerk is voorbeelde van klankelemente wat strategies gebruik kan word. ŉ Klank-merk is ŉ kort stuk musiek of ŉ geluid wat met die handelsmerk geassosieer is (Groves, 2012) en word op dieselfde manier as die visuele logo van ‘n handelsmerk gebruik. Ten spyte van die feit dat klank die vermoeë het om die verbruiker se gedrag in verskillende areas te beïnvloed (Krishna, 2012), is daar min inligting beskikbaar oor hoe ŉ bemarker klank strategies kan gebruik om ŉ unieke identiteit vir ŉ handelsmerk te skep, sowel as hoe ŉ spesifieke geluid van ŉ handelsmerk gekies behoort te word. Navorsing in die area is heel moontlik beperk as gevolg van die feit dat meeste klanke op ŉ emosionele vlak, onder die bewussyn van die verbruiker, geprosesseer word en tradisionele navorsing metodes kan nie die volle effek op die emosionele reaksie meet nie. Die gebruik van tradisionele navorsing metodes om die effek van klank te bestudeer mag moontlik ook foute teweegbring. ŉ Belangrike voordeel van neurofisiologiese navorsing is dat dit die verskil tussen wat verbruikers sê en in werklikheid doen in ag geneem (Van Praet, 2012:22) en die invloed van stimuli op die emosies van die verbruiker bestudeer. Die doel van hierdie navorsing is om te bestudeer hoe die klank-merk van ŉ handelsmerk in die emosionele onderbewussyn van die verbruiker geprosesseer word. Ses televisie advertensies met klank-merke in die finale tonele is gebruik om die invloed van die klank-merk op die onderbewussyn van die verbruiker te bestudeer. Die advertensies van voertuig en elektroniese handelsmerke is vir die studie gebruik. Die volgende neurofisiologiese navorsing metodes is gebruik: EEG, EMG, sowel as vel geleiding. Die resultate van die studie dui aan dat daar ŉ beduiende verskil is tussen hoe mans en vrouens die klank-merk van ŉ handelsmerk prosesseer (EMG). Die verskil behoort oorweeg te word wanneer die klankelemente van ŉ handelsmerk gekies word. Die deelnemers se emosionele reaksie teenoor die klank-merk het egter nie ŉ lang-termyn effek gehad nie (EEG). Met ander woorde, die manier waarop sekere handelsmerke klank strategies gebruik is nie noodwendig effektief om ŉ lang-termyn emosionele verbinding tussen die verbruiker en die handelsmerk te bou nie.

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Brie, Stephen Michael. « 'Yesterday once more' : an investigation of the relationship between popular music, audience, and authorial intention in Dennis Potter's 'Pennies from heaven', 'The singing detective', and 'Lipstick on your collar' ». Thesis, University of Liverpool, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250379.

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Critical interpretations of Dennis Potter's television drama serials have tended to take a writer-centred perspective, focusing on establishing links between the dramatist's life and work. In analysing the popular music content of these texts, critics have consistently postulated the existence of Brechtian distanciation effects on an implied viewer. Although, in order to contextualise Potter's relationship with popular music, authorial intention is discussed, this study shifts the focus towards empirical interpretations of the musical sequences in Pennies from Heaven, The Singing Detective and Lipstick on Your Col/ar, and, in doing so, problematises the application of Brechtian theory to those texts. Utilising theoretical framings drawn from television studies, film studies, literary studies, communication studies, and musicology, the thesis offers interpretation and analysis of empirical material generated in response to both quantitative and qualitative exercises, and sets out to identify, and investigate, the narratological, musicological, and psychological factors which come into play when actual viewers encounter the narratively foregrounded, lip-synched musical sequences in Potter's serials. The influence of respondent age and gender, of implied author discourse, and of genre expectation on emprirical readings are also investigated. The thesis identifies, and attempts to account for, a predisposition on the part of Potter's musically-infused period dramas to stimulate susceptible viewers to drift away from the performance, and into nostalgic memory excursions, or fabricated imaginings, experiences which often result in narrative amnesia, an inability to subsequently recall and/or recollect elements of narrative detail.

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Collie, Hazel. « Television for women : generation, gender and the everyday ». Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/10478.

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This study is part of the AHRC funded project “A History of Television for Women in Britain, 1947-1989”. The research is based upon the data gathered from interviews carried out with thirty geographically and generationally dispersed women about their memories of watching television in Britain between 1947 and 1989. I have used generation and gender as analytical categories, and have paid particular attention to the role of memory work in this type of historical research. This thesis aims to build upon previous work which has investigated the connection between generation and interaction with popular culture, but which has not theorised those relationships (Press, 1991; Moseley, 2002). The shifts and, indeed, continuities in the lives of different generations of British women are considered to gain a sense of the importance of generation in the production of identity. Significant differences arose between generations in terms of reflexivity and around questions of quality, value and taste as generations intersected with feminist and neoliberal cultures at different life stages. What was particularly interesting, however, was that despite the dramatic social change wrought by this post-war period, the narratives of women of different generations were surprisingly similar in terms of their everyday lives. Their memories largely centred around domestic relationships, and the women’s role as mother was often central to these. Following my investigation of the significance of motherhood to women’s production of gendered identity I consider the moments which disrupted that pattern and where women are enabled to conceive of an identity outside their familial role. Talk around pop music programming and desire had generational significance in the production of individual identities, again pointing to the importance of generation as an analytical category.

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Morris, Samantha Mary. « Much more than music video : an examination of Canadian response to American paradigms ». Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=31124.

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Although the relationship between Canadian and American culture is often discussed in terms of dominance and dependency, there is little cultural scholarship that examines how Canadians interpret American cultural products and how Canadian "replicas" of American products encompass infatuation and imitation of American popular culture while simultaneously offering critique, resistance and parody. By comparing the evolution of MuchMusic and MTV and the "supertext" of the two networks---programming philosophy, musical and non-musical shows, VJ's, and television aesthetics---I address how MuchMusic functions as both an example of uniquely Canadian sensibilities and as an example of Canada's complicated relationship with the United States.

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Lowy, Adrienne. « Dusty, Cilla, Sandie, Lulu as seen on TV : a study of interrelations between pop music, television and fashion ». Thesis, University of Liverpool, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490630.

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This thesis examines the way in which four British female performers, Dusty Springfield, Cilla Black, Sandie Shaw and Lulu, forged a relationship between pop music, television and fashion at a key moment in time, the period 1963-75. The intention is to discover what was new about the image for British women popular musicians that they constructed and the means by which they did so. The period studied was important for the convergence in Britain ofpop music with television and fashion. The thesis considers the women's role in this convergence in tenns both ofshaping and exploiting it The investigation was pursued through a range of primary source data, principally the viewing of the rare surviving recording of a programme from each of the four women's BBC television series. The use of the four programmes as case studies provides the main focus. Archival research using the two television listings publications of the period, the Radio Times and the TVTimes, provided the majority of the information locating the four programmes within the 1963-75 British television context; as well as demonstrating the way in which each was promoted for television and the range of television genres with which the four women were involved. Interviews with television cameramen associated with the programmes provided personal recollections uskd to complement and supplement the research. Popular music, television and fashion literature enabled the study of the interrelations between the three areas as evidenced in the four programmes. The findings demonstrate the active agency ofeach of the four women in the creation of her individual persona around which her eponymous BBC television series was constructed as a 'star vehicle', utilizing the convergence ofpop music, television and fashion. The findings reveal a fonnerly 'hidden history' of four British female pop music performers who brought their music perfonnance, with its key fashion component, to the pre-existing systems of British television light entertainment. In so doing each formulated for herself a new kind of career which transcended pop single achievement, at a particularly significant moment in time for British pop music, television and fashion. Dusty Springfield, CilIa Black, Sandie Shaw and Lulu, each in her own way changed, strengthened and enhanced the status of the British female pop perfonner according to the results of this research. The four women did so through fusing their awareness of British pop music and British fashion with an awareness of the audience for their British television performance. This thesis has thus investigated, evaluated and presented the evidence for this hitherto undocumented achievement.

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Fentress, Stacy Nichole. « Out of the Spotlight and into the Shadows : An Examination of Communication about Adolescent Girls on Music Television ». [Johnson City, Tenn. : East Tennessee State University], 2002. http://etd-submit.etsu.edu/etd/theses/available/etd-0328102-090905/unrestricted/FentressS.pdf.

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Weissglass, Keith. « Image manipulation in political advertisements how color and music influence viewer attitudes and emotions / ». Diss., Connect to the thesis, 2005. http://hdl.handle.net/10066/1120.

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Luporini, Marcos Patrizzi. « O uso de musica no telejornalismo : analise dos quatro telejornais transmitidos em rede pela TV Globo ». [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284361.

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Orientador: Claudiney Rodrigues Carrasco
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
Made available in DSpace on 2018-08-08T14:30:17Z (GMT). No. of bitstreams: 1 Luporini_MarcosPatrizzi_M.pdf: 1439777 bytes, checksum: 6e802a5a3f28acd9137c490c4f2faece (MD5) Previous issue date: 2007
Resumo: A pesquisa aqui apresentada tem por objetivo oferecer uma primeira análise acerca da utilização da música nos quatro telejornais diários exibidos em rede nacional pela Rede Globo, tanto no que diz respeito às aberturas e vinhetas que compõem a roupagem dos telejornais, como na sonorização das reportagens. Para tanto, a pesquisa se dividiu em uma primeira abordagem histórica do desenvolvimento do jornalismo audiovisual no Brasil, para, a partir dessa compreensão histórica, buscar entender os procedimentos atuais na inserção de música nos telejornais englobados, sempre tendo como ponto de partida a práxis interna da produção desses telejornais
Abstract: The purpose of this dissertation is to analyse the usage of music in four TV news programs daily broadcasted nationwide by Rede Globo. By looking into their opennings and headnews as well as the sound tracks used during the main news reports, the research sheds some light on the editorial procedures utilized to decide on the most appropriate sound track to accompany the news. The dissertation presents a historical research on the development of the audiovisual journalism in Brazil which served as a starting point for understanding the usage of music in the production of TV broadcasted news
Mestrado
Mestre em Multimeios

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Manento, Theresa M. « A study on the effects music videos have on adolescent fashion and hair styles ». Instructions for remote access. Click here to access this electronic resource. Access available to Kutztown University faculty, staff, and students only, 1991. http://www.kutztown.edu/library/services/remote_access.asp.

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Thesis (M.S.)--Kutztown University of Pennsylvania, 1991.
Source: Masters Abstracts International, Volume: 45-06, page: 2714. Abstract precedes thesis as [1] preliminary leaf. Typescript. Includes bibliographical references (leaves 27-28).

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Lesniak, Britta [Verfasser], Birgit [Akademischer Betreuer] Abels, Birgit [Gutachter] Abels et Patrick [Gutachter] Eisenlohr. « Epic Television – Music and Sound in Ramayan and Mahabharat / Britta Lesniak ; Gutachter : Birgit Abels, Patrick Eisenlohr ; Betreuer : Birgit Abels ». Göttingen : Niedersächsische Staats- und Universitätsbibliothek Göttingen, 2018. http://d-nb.info/1173974946/34.

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Schlütz, Daniela, Felicitas Förster, Sarvenaz Safari, Alexandra Vinzenz, Jeremy Orosz, Willem Strank et Jennifer Volkmer. « Musik im ”Quality TV” ». Hochschule für Musik und Theater 'Felix Mendelssohn Bartholdy' Leipzig, 2019. https://slub.qucosa.de/id/qucosa%3A35412.

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Creighton, Chie-wei Eve, et 林綺薇. « MTV Asia headquarters ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1996. http://hub.hku.hk/bib/B31982645.

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Gee, Narelle. « Maintaining our rage : Inside Australia's longest-running music video program ». Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/85665/10/Narelle_Gee_Thesis.pdf.

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This research presents an insider's account of rage, Australia's longest-running music video program. The research's significance is that there has been scarce scholarly analysis of this idiosyncratic ABC program, despite its longevity and uniqueness. The thesis takes a reflective and reflexive narrative journey across rage's decades, presenting the accounts of the program makers, aided by the perspective of an embedded researcher, the program's former Series Producer. This work addresses the rage research gap and contributes to the scholarly discussion on music video and its contexts, the ABC, public service broadcasting, creative labour, and the cultural sense-making of television producers.

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Tress, Benjamin. « The Jazz & ; People’s Movement : Rahsaan Roland Kirk’s Struggle to Open the American Media to Black Classical Music ». Thesis, Boston College, 2008. http://hdl.handle.net/2345/593.

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Thesis advisor: Davarian Baldwin
The multi-instrumentalist Rahsaan Roland Kirk (1936-1978) was one of the most thrilling jazz performers of the Sixties and Seventies, wowing audiences with his lively blend of musical styles and his unique ability to play multiple saxophones at once. Still, one particularly exciting aspect of his life is unfamiliar to most, jazz fans included. In 1970, Kirk formed an activist group which he dubbed the Jazz and People’s Movement (JPM), with the purpose of lobbying television networks to broadcast more jazz and black musicians. And in order to ensure the networks took the call seriously, the JPM seized the television studios by storm – during the taping of major prime-time programs! The JPM was one among many self-help collectives working in New York and Chicago at the time, all seeking to mediate the material and cultural stresses facing musicians following jazz’s sharp decline in the 1960s. Kirk’s movement was unique, however, in identifying mainstream culture industries as a key site of struggle in the politics of production, documentation, and dissemination. And the JPM’s dynamic public disturbance tactics contrasted with the quieter, inward-looking programs of other collectives. Its aesthetic inclusivism also set it apart from most other jazz community groups which heavily favored avant-garde music. Under Kirk’s leadership, the JPM demonstrated that the mass production and consumption of art and culture had important political relevance and power for the liberation of black music specifically, and of black America more generally. Although the movement was short-lived and did not achieve many of its stated goals, it provides a visible intersection of music, race, and society, and is thus a highly valuable historical subject. This thesis explores the impact of Kirk’s political and aesthetic ideals on his conception of the JPM; the consistently interconnected material and cultural underpinnings of the movement’s agenda; the group’s protest actions, and the accompanying reactions in the music community and the press; the causes of the JPM’s dissolution; and the movement’s broader impact and legacy
Thesis (BA) — Boston College, 2008
Submitted to: Boston College. College of Arts and Sciences
Discipline: History
Discipline: College Honors Program

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Livock, Holly. « Exercising with a Screen or Music and Post-Exercise Energy Compensation : A Randomized Crossover Trial in Male Adolescents ». Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37817.

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Watching television or listening to music during exercise has been shown to increase the enjoyment of the activity and decrease fatigue for some people. However, it is currently unknown how these stimuli during an exercise session play a role in postexercise energy intake and/or physical activity energy expenditure (PAEE). The purpose of this thesis was to examine the effects of watching television or listening to music while exercising on post-exercise energy intake and expenditure in male adolescents. The study consisted of a randomized crossover design involving 24 male adolescents aged 12 to 17 years. The participants completed three experimental sessions that included walking/jogging on a treadmill at 60% of their heart rate reserve for 30 minutes while watching television, listening to music, or exercising with no other stimulus (control). Following the exercise sessions participants were given an ad libitum lunch and were asked to record their food intake for the remainder of the day. An Actical accelerometer was used to assess PAEE until bedtime. The primary outcome measure was post-exercise energy intake and energy expenditure. Results showed that exercising while watching television or listening to music did not significantly affect postexercise energy intake or energy expenditure. Walking/jogging on a treadmill was found to be more enjoyable while watching television than with no stimulus present (p=0.03). Ratings of perceived exertion were not significantly different between conditions. Overall, our results suggest that watching television or listening to music while exercising does not impact post-exercise energy intake or expenditure in male adolescents, which may have positive implications for adolescents who may need additional motivation to exercise.

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Lisý, Martin. « Návrh internerové televize pro hudební portál Bandzone.cz ». Master's thesis, Vysoká škola ekonomická v Praze, 2009. http://www.nusl.cz/ntk/nusl-16726.

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The diploma thesis is discussing the proposal of the internet television for the music portal Bandzone.cz. The internet television is understood to be a web server aggregating the audiovisual content, which allows the viewers to decide what and when they want to watch. This is not a television that would show programs in real time and broadcast on the fixed schedule for 24 hours. The introduction of the diploma work discusses different approaches to internet business. It is followed by the presentation of the main subjects of the audiovisual media market operating in Czech Republic and worldwide. The following chapters are dealing with practical design of the internet TV station, from content and business model and up to user interface design. In the conclusion are named the key factors essential for success of the proposed e-business initiative, including the possibilities for its further deve;lopment.

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Knutsson, Malin. « "Take a Look at the Lawman" : Musik i TV-drama, en jämförelse mellan Miami Vice och Life on Mars ». Thesis, Växjö University, School of Education, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-5109.

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Tanken med denna uppsats är att försöka få en inblick i vilka funktioner musiken fyller i TV-dramat. Det finns en del studier att tillgå om filmmusik men ytterst lite om just musik inom TV-serier. Mitt syfte är således att undersöka vad för slags musik som används i TV-dramer, i vilka sammanhang den förekommer och dess relation i förhållande till det som utspelar sig i bild. Utöver det tar jag delvis upp diskussioner om huruvida vi ska uppfatta filmmusik medvetet eller inte. I och med det har viss vikt lagts vid att studera eventuella skillnader i upplevelsen och användandet av instrumentalmusik och populärmusik.

Till mitt arbete har jag använt mig av tidigare forskning kring filmmusik och gjort en jämförande analys av polisserierna Miami Vice och Life on Mars. Åtta avsnitt ur varje serie har studerats och därefter har ett representativt avsnitt från respektive TV-drama valts ut för en fördjupad analys. Min uppfattning utifrån studien är att instrumentalmusik och populärmusik i de flesta fall används i liknande sammanhang. Dessa kan exempelvis vara att ge en känsla av atmosfär, understryka en karaktärs känslor, ge tittaren information som inte kan utläsas utifrån enbart bilderna och bidra med kontinuitet. Populärmusik kan i somliga fall vara ett bra alternativ till instrumentalmusik för att vi ska hålla kvar vårt fokus på bilderna. Men populärmusikens främsta funktion i de undersökta serierna är som tidsmarkör för den period handlingen utspelar sig i.

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Schweitzer, Dennis Christopher. « Ton & ; Traum : A Critical Analysis Of The Use Of Sound Effects And Music In Contemporary Narrative Film ». Ohio University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1108483481.

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Iwabuchi, Koichi, University of Western Sydney et School of Cultural Histories and Futures. « Returning to Asia : Japan in the cultural dynamics of globalisation, localisation and Asianisation ». THESIS_XXXX_CHF_Iwabuchi_K.xml, 1999. http://handle.uws.edu.au:8081/1959.7/384.

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This thesis explores the re-articulation of Japan's cultural connections with Asia in the1990s through popular cultural flows. This is a time when the ascent of Asian economic power has encouraged Japan to stress its Asian identity again, and the forces of media globalisation have facilitated intra-regional cultural flow in Asia. In this context, popular culture, particularly TV programmes and popular music, which arguably embody the ongoing formation of Asian cultural modernity through cultural indigenisation of Western cultural influence, has become a key site where Japan's historically constituted ambivalent relation with other Asian nations has been newly articulated. I shall look at various facets of Japan's 'return to Asia' through the analysis of Japanese discourses on its international cultural influence; through the empirical examination of the promotion, production and reception of Japanese popular music and TV programmes in East and Southeast Asian markets; and through the analysis of Japanese media representation of Asian societies and Japanese fans' reception of Hong Kong popular culture. 'Asia' in the 1990s has evoked Japan's repetitious nationalist desire for a trans-Asian expansion of its cultural imaginary. However, as popular cultural flows have made Japan's encounter with Asia more immediate and concrete, Japan's cultural nationalist project has been reconfigured within a transnational framework which increasingly capitalises on the regional cultural resonance in Asia. In the process, the asymmetrical power relationship between Japan and Asia and Japan's condescending sense of being 'in the above Asia' have been renewed, ruptured and refracted in complex and contradictory ways
Doctor of Philosophy (PhD)

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REIS, Martha Antonia dos Santos. « Programa Frutos da Terra : Um agente divulgador da cultura musical regional ». Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2720.

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This study is the result of observation of the television Fruit of the Earth, regional character, which is being produced in Goiania, twenty-five consecutive years. Achieving the overall goal of making a critical analysis and reflective linking the program and its regional proposal in the context of globalized society Goias, and the implications assigned to this context, they acquired this registration form, in which they are exposed to exploitation and Goias indigenous culture, especially music. Therefore, considerations are made on the regional cultural events that the program airs, including traditional and particularly the music, in the process of globalization, including the issue of cultural hybridity and cultural specificities of identifications in the news. The study is systematic in three chapters, s endo that makes each chapter a specific approach, based on the thought of Edgar Morin, the complexity. A reflection on the program Fruit of the Earth gives up way of thinking fragmented portnato, do not take the object apart from its context. It was observed, and the program Fruit of the Earth for a period of eighteen months, was considered the responses obtained in the interviews, we sought in the theoretical studies by social theorists - Hall, Bauman and Canclini - and researchers in the field music - Ulhôa, Nepomuceno and Pimentel. These agents have cultural enlightening replies to the questions that arise during the research. The procedures are found in each chapter of the research. In the first chapter, the discourse is presented by globalization and its issues. The second is devoted exclusively to country music roots, its origin, the transformation in that song now, considering the result of hybridity and cultural reflection of the identifications of Goias. The third chapter presented in detail, the program. It presents the history of the program, a detailed description of some recordings of that program and a summary of the opinions of the individuals: artists, viewers and program staff. In this chapter the reader is shown the importance of the fruits of the earth for society Goiana, since it proposes the recovery, preservation and indigenous culture of Goiás
Este estudo é fruto da observação do programa de televisão Frutos da Terra, de caráter regional, que vem sendo produzido em Goiânia, por vinte e cinco anos ininterruptos. Atingindo o objetivo geral de realizar uma análise critica e reflexiva relacionando o programa e sua proposta regionalista no contexto globalizado da sociedade goiana, bem como as implicações conferidas a esse contexto , adquiriu-se o presente registro impresso, no qual se encontram expostos a valorização e o resgate da cultura goiana, em especial a musical. Portanto, são apresentadas considerações sobre as manifestações culturais regionais que o programa leva ao ar, entre elas as tradicionais e, particularmente, as musicais, dentro do processo da globalização, abrangendo a questão do hibridismo cultural e as especificidades das identificações culturais na atualidade. O estudo está sistematizado em três capítulos,s endo que cada capítulo perfaz uma abordagem específica, tendo como base o pensamento de Edgar Morin, a complexidade. A reflexão em torno do programa Frutos da Terra renuncia a forma de se pensar fragmentada, portnato, não se tomou o objeto separado de seu contexto. Observous-e o programa Frutos da Terra por um período de dezoito meses, considerou-se as respostas obtidas na realização das entrevistas, buscou-se o embasamento teórico em estudos realizados por teóricos sociais - Hall, Bauman e Canclini - e por pesquisadores no campo da música - Ulhôa, Nepomuceno e Pimentel. Esses agentes socioculturais deram respostas esclarecedoras para os questionamentos surgidos no decorrer da pesquisa. Os procedimentos realizados são reconhecidos em cada capítulo da pesquisa. No primeiro capítulo, o discurso apresentado é o da globalização e suas questões. O segundo dedica-se exclusivamente à música sertaneja raiz, sua origem, as transformações pelas quais essa música passou, considerando-a consequência do hibridismo e reflexo das identificações culturais do goiano. O terceiro capítulo apresentada detalhadamente, o programa. Nele é apresentada a trajetória do programa, a descrição pormenorizada de algumas gravações desse programa e uma síntese das opiniões dos sujeitos entrevistados: artistas, telespectadores e funcionários do programa. Neste capítulo é mostrado ao leitor a importância do programa Frutos da Terra para a sociedade Goiana, uma vez que ele propõe a valorização, a preservação e o resgate da cultura de Goiás

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45

Carneiro, Albuquerque Liliana. « Mockumentaries and the music industry : between flattery and criticism ». Doctoral thesis, Universitat Pompeu Fabra, 2013. http://hdl.handle.net/10803/125712.

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This thesis discusses the relationship between mockumentaries and the music industry. Because this subject has yet to be studied in depth, the original contribution to knowledge is to further examine this relationship. To do so, a literature review documenting what has thus far been written about mockumentaries is provided. This audiovisual strategy is also contextualized within contemporary practices. In the next section, the music industry is discussed in broad terms. Firstly, the relationship between cinema and music is addressed. Then, music is depicted as a cultural phenomenon, with recent issues also being brought to light. In the last chapter, four music-related mockumentaries are analysed. Then, extensive conclusions are drawn.
Esta tesis analiza la relación entre la industria de la música y los falsos documentales. Teniendo en cuenta que esta cuestión todavía no se ha estudiado en profundidad, la contribución original al conocimiento es centrarse en el análisis de esta relación. Para ello, una revisión de la literatura se proporciona, discutiendo lo que hasta ahora se ha escrito acerca de falsos documentales. Esta estrategia audiovisual también se estudia en el contexto de otras prácticas audiovisuales contemporáneas. En la siguiente sección, la industria musical es tratada en términos generales. En primer lugar se aborda la relación entre la música y el cine. A continuación, la industria de la música es analizada como un fenómeno cultural, y además se abordan cuestiones actuales. En el último capítulo cuatro falsos documentales relacionados con la música son analizados y por último se presentan una serie conclusiones.

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46

Atalay, Cetinkaya Burcu. « Direction Finding For Coherent, Cyclostationary Signals Via A Uniform Circular Array ». Master's thesis, METU, 2009. http://etd.lib.metu.edu.tr/upload/2/12611142/index.pdf.

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In this thesis work, Cyclic Root MUSIC method is integrated with spatial smoothing and interpolation techniques to estimate the direction of arrivals of coherent,cyclostationary signals received via a Uniform Circular Array (UCA). Cyclic Root MUSIC and Conventional Root MUSIC algorithms are compared for various signal scenarios by computer simulations. A cyclostationary process is a random process with probabilistic parameters, such as the autocorrelation function, that vary periodically with time. Most of the man-made communication signals exhibit cyclostationarity due to the periodicity arising from their carrier frequencies, chip rates, baud rates, etc. Cyclic Root MUSIC algorithm exploits the cyclostationarity properties of signals to achieve signal selective direction of arrival estimation. Spatial smoothing is presented to overcome the coherent signals problem in a multipath propagation environment. Forward spatial smoothing and forward backward spatial smoothing techniques are investigated. Interpolation method is presented to cope with the restrictions of spatial smoothing on array structure. Although the array structure that is considered in this thesis (Uniform Circular Array), is not suitable for applying spatial smoothing directly, using interpolation method makes it possible. Performance of Cyclic Root MUSIC and Conventional Root MUSIC algorithms are compared under variation of various factors by computer simulations. Effects of signal type on the performance of the algorithms are observed by using different signal scenarios.

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47

Springer, Dustin Michael. « An examination of parental awareness and mediation of media consumed by fifth grade students ». Diss., Kansas State University, 2011. http://hdl.handle.net/2097/7299.

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Doctor of Philosophy
Curriculum and Instruction Programs
John A. Hortin
This dissertation investigated parental roles in mediating television, music, and the Internet for their children--specifically their fifth graders. Seventy two parents, representing forty seven fifth graders took part in the study. The Television Mediation Scale (Valkenburg, Kremar, Peeters, & Marseille, 1991) provided a framework for the instrument used. Parents were asked a series of questions dealing with television, music, and the Internet. Responses were given on a four point Likert scale. Additionally, participants were asked to estimate the amount of time spent with each medium, discuss the rules in place, the concerns they have with the media, and what principles guide their decisions about how their child uses each type of media. Regarding television, results indicated that parents utilized the restrictive mediation style in which parents set rules for viewing television programs or even prohibit certain shows from being seen. Although parents report using restrictive mediation, more than likely co-viewing is being used most frequently (Weaver & Barbour, 1992). This is plausible when applied to this study considering how close the Mean values are between restrictive mediation (3.36) and co-viewing (3.28). Statistically, no significant findings were reported in regards to music and Internet mediation. However, from a qualitative viewpoint, a wealth of data was gathered regarding the guiding principles and rules that are in place in each home regarding the media. Overall, parents report being knowledgeable of the media that their child uses and are comfortable with the rules in place and the principles that guide their decisions. The results of the study indicate that parents are aware of how their child/children interact with the media but an element of education for parents and even educators in the schools may be missing. Parents must stay abreast of new technologies and continually monitor ways in which their child/children use that technology. If parents believe that they are helpless against the power the media has over their children they are conceding a loss to the media's influence. However, if parents stay involved in their child's life and stay up-to-date on the newest technologies and what children gain from using this technology, then there is no reason to believe that we are powerless against the media.

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Pozzobon, Patrizia. « L’industria musicale e la musica classica nello scenario dei media digitali ». Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23558/.

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La musica classica ha sempre fatto parte del mondo dell’intrattenimento fino ai giorni nostri. In epoca contemporanea però, con l’evoluzione tecnologica, questa ha perso sempre più popolarità fino a essere considerata di nicchia o adatta solo a un certo tipo di persone, con un alto livello di cultura o sofisticate. Questa viene anche percepita difficile l’attenzione richiesta e la complessità considerata non accessibile a tutti. Le industrie culturali oggi devono affrontare problemi di monetizzazione del proprio mercato molto più che in precedenza, a causa delle nuove piattaforme digitali, dei nuovi media e del cambiamento della fruizione del prodotto culturale. La volatilità del prodotto e il cambiamento delle pratiche sociali hanno portato a nuove strategie per ottenere un ritorno degli investimenti e degli sforzi di produzione. L’aumento pervasivo dell’utilizzo di internet e dei social media richiede nuove tecniche per contrastare la pirateria digitale, la percezione delle persone e con il loro coinvolgimento. Dopo una panoramica sul funzionamento e le problematiche dell'industria musicale, viene analizzato l'ambito della musica classica come genere di nicchia, con le sue caratteristiche e pratiche peculiari, con uno sguardo all’Italia. Dopo un confronto, viene esaminato cosa è cambiato nell’era digitale e se la musica classica è riuscita a utilizzare nuove strategie, ad adattarsi alle novità del settore e del pubblico, osservando alcune realtà internazionali rilevanti. Nell’ultima parte si prende in considerazione il periodo della pandemia di covid-10 iniziata nel 2020 e si osserva quali problematiche sono emerse e come ha reagito il settore, concentrandosi soprattutto sull’ambito della musica dal vivo e sul contesto italiano. Si conclude quindi con delle considerazioni sull’efficacia delle strategie adottate e sull’impatto positivo che hanno avuto i media digitali per promuovere la musica classica dovuto alla spinta tecnologica causata dalla pandemia.

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49

Secmen, Mustafa. « A Novel Music Algorithm Based Electromagnetic Target Recognition Method In Resonance Region For The Classification Of Single And Multiple Targets ». Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/2/12609306/index.pdf.

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This thesis presents a novel aspect and polarization invariant electromagnetic target recognition technique in resonance region based on use of MUSIC algorithm for the extraction of natural-resonance related target features. In the suggested method, the feature patterns called &ldquo
MUSIC Spectrum Matrices (MSMs)&rdquo
are constructed for each candidate target at each reference aspect angle using targets&rsquo
scattered data at different late-time intervals. These individual MSMs correspond to maps of targets&rsquo
natural-resonance related power distributions. All these patterns are first used to obtain optimal late-time interval for classifier design and a &ldquo
Fused MUSIC Spectrum Matrix (FMSM)&rdquo
is generated over this interval for each target by superposing MSMs. The resulting FMSMs include more complete information for target resonances and are almost insensitive to aspect and polarization. In case of multiple target recognition, the relative locations of a multi-target group and separation distance between targets are also important factors. Therefore, MSM features are computed for each multi-target group at each &ldquo
reference aspect/topology&rdquo
combination to determine the optimum late-time interval. The FMSM feature of a given multi-target group is obtained by the superposition of all these aspect and topology dependent MSMs. In both single and multiple target recognition cases, the resulting FMSM power patterns are main target features of the designed classifier to be used during real-time decisions. At decision phase, the unknown test target is classified either as one of the candidate targets or as an alien target by comparing correlation coefficients computed between MSM of test signal and FMSM of each candidate target.

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50

Griffin, 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.

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