Thèses : « Popular music – social aspects – california »

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Gautier, Alba. « Producing a popular music : the emergence and development of rap as an industry ». Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.

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In this thesis, I trace the evolution of the rap market from its emergence in 1979 in New York City to its development into a national industry in 1990. I analyze the motivations of the producers of rap and the mechanisms that led to their current organization. Independent labels were the primary producers of rap records until they made distribution deals with major record companies in the second half of the eighties. I argue that the division of labor between production and distribution, which became the most common context for the production of the music, is both the result of an organizational strategy initiated by the majors and of the negative perception their executives had of rap artists.

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Wong, Chi-chung Elvin, et 黃志淙. « Making and using pop music in Hong Kong ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B29872583.

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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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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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Moore, Christopher Lee. « Music in France and the Popular front (1934-1938) : politics, aesthetics and reception ». Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102813.

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The French Popular Front was a coalition of left-wing political parties (Communists, Socialists, and Radicals) united through a common desire to combat fascism and improve the living conditions of France's workers. Between 1935 and 1938, the ideology of the Popular Front, largely informed by that of the Parti Communiste Francais (PCF), exerted tremendous influence on the cultural life of the French nation. Many cultural and musical organizations heeded the Popular Front's call for broad-based anti-fascist solidarity among intellectuals, artists, and the working class. In the realm of culture, this translated into multiple initiatives designed to bring art to the masses and to encourage the proletariat to become more active in the cultural life of the nation.
Sympathetic to the Popular Front's larger political aims, a number of French musicians and composers became affiliated with the Communist-sponsored Maison de 1a Culture and its affiliated musical organizations, the most prominent of which was the Federation Musicale Populaire (FMP). They participated in the administrative, cultural and intellectual life of the FMP; they took part in conferences, wrote articles on the theme of "music for the people," and were advocates for the organization within French musical life at large. Furthermore, these composers wrote works for government-commissioned events, for amateur groups, and for spectacles designed for mass audiences.
Some of the FMP's most prominent proponents (Darius Milhaud, Georges Auric, and Arthur Honegger) were former members of Les Six, a group that had been particularly interested in borrowing music derived from "popular" sources like the music hall and the circus following World War I. This study argues that the aesthetic approach of Les Six, which found support in FMP presidents Albert Roussel and Charles Koechlin, was reinvigorated during the Popular Front for a much more clearly defined political purpose. While the general interest in "popular" sources was still maintained, composers at the FMP now sought to integrate folklore and revolutionary music into their works "for the people" in an attempt to create and underline cultural links between workers and intellectuals---a compositional approach for which this dissertation coins the expression "populist modernism."
This study, the first book-length examination of French musical culture in light of Popular Front politics, concentrates on some of the period's most significant populist modernist works and draws upon contemporaneous journalistic coverage and archival documents that in many cases have hitherto never been the object of musicological study. The research shows that in 1936, following an initial infatuation with the genres and styles of socialist realist Soviet works, French left-wing composers developed a more inclusive view of what constituted music "for the people." Composers continued to write music indebted to politically resonant popular sources like folklore and revolutionary songs, but they also drew upon these genres in works (like the collaborative incidental music for Romain Rolland's Le 14 Juillet) that employed modernist compositional techniques. Though this approach was most obviously felt in the numerous works composed for organizations like the FMP, populist modernism also emerged in works performed at the Theatre de l'Opera-Comique and the 1937 Paris Exposition. By cutting across musical genres as well as institutional and social contexts, populist modernism emerges as the dominant aesthetic trend in French music during the years of the Popular Front.

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Man, Oi-kuen Ivy. « Cantonese popular song in Hong Kong in the 1970s : an examination of musical content and social context inselected case studies ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221476.

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Wong, Chi-chung Elvin, et 黃志淙. « The working of pop music culture in the age of digital reproduction ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44140101.

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Jeppie, Shamil. « Aspects of popular culture and class expression in inner Cape Town, circa 1939-1959 ». Thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/24109.

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CHINCOLI, Veronica. « Black North American and Caribbean music in European metropolises : a transnational perspective of Paris and London music scenes (1920s-1950s) ». Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/62230.

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Defence date: 15 April 2019
Examining Board: Professor Stéphane Van Damme, European University Institute; Professor Laura Downs, European University Institute; Professor Catherine Tackley, University of Liverpool; Professor Pap Ndiaye, SciencesPo
This thesis examines black music circulation in the urban spaces of London and Paris. It shows the complexity of the evolutionary processes of black musical genres, which occurred during the late imperial period (1920s-1950s) within the urban music scenes of two imperial metropolises, and how they played an important role on the entertainment circuit. Both cities functioned as sites of crossfertilisation for genres of music that were co-produced in a circulation between empires and Europe. Musicians of various origins met in the urban spaces of the two cities. The convergence and intermingling of musical cultures that musicians had brought with them produced new sounds. This process was influenced by a minority group (blacks), but had a significant and lasting influence on the musical world. By creating an historical account of the encounters and exchanges between people of different origins within the music scenes, this thesis examines music development and the complexity of processes of racialisation according to their historical locality and meaning. Using a variety of sources including police reports, government documents, interviews, guidebooks and newspapers, this work contributes to widen the perspective of historical studies on music developments, emphasising their social and spatial dimensions, which are fundamental for the exploration of music scenes, in general, and for the spread of black genres of music in particular. Black music styles spread internationally, but were produced in several specific locations where music industry infrastructure was developing. In the urban spaces of the music scenes of London and Paris social networks were formed by various actors - both blacks and whites - and were crucial for music production and reception; different perceptions of blackness, processes of competition, and debates on authenticity emerged; and processes of regulation and negotiation underpinned the intervention of public authorities.
Chapter 4 'Black Music Styles as Vehicles for Trans-racial Interplay: Practices of Learning, Perceptions of Blackness and Commercialisation of Music' of the PhD thesis draws upon an earlier version published as an article “Black Music Styles as Vehicles for Transnational and Trans-Racial Exchange: Perceptions of Blackness in the Music Scenes of London and Paris (1920s-1950s),” (2017) in the journal 'Zapruder world'

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Gitonga, Priscilla Nyawira. « Music as social discourse : the contribution of popular music to the awareness and prevention of HIV/AIDS in Nairobi, Kenya ». Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/962.

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This dissertation is a critical, theoretical study focussing is on the contribution that popular music makes towards raising awareness and promoting the prevention of HIV/Aids in Nairobi, Kenya. Towards this end, an analysis of the lyrics and musical gestures of four Kenyan pop music songs is undertaken in order to highlight their communicative capabilities in this regard. These songs, namely, are Lulumbe by Wasike wa Musungu, Juala by Circute and Jo-el, Vuta Pumz by The Longombas, and Dunia Mbaya Chunguze by Princess Jully. The context in which these musical analyses occur is provided in: - An overview of the Kenya of today, in particular that of the diverse and hybrid ethnic, linguistic, musical and cultural practices of Nairobi, and of the various youth cultures in that city, as well as in an overview of the extent of the HIV/Aids pandemic in Kenya, especially amongst the youth of Nairobi, with some reflection on existing interventions. - An overview of current trends in popular music analysis and an explanation of the author’s own eclectic semiotic analytical methodology within this context. The study concludes that a repeating strategy may be discerned on the part of the composers and performers in question, namely, to first engage audiences through language and music with which they are familiar, and then to encourage audiences to confront the unknown and unfamiliar in music and language, but also ultimately in terms of their social practices. The known and the familiar is highlighted both in the lyrics and in the music itself. It includes use of commonlyspoken languages and dialects, popular musical styles typical of the particular sub-culture, and references to the day-to-day experiences of the ordinary person.

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Demeuldre, Michel. « Le changement musical : étude transculturelle de trois siècles de changements dans la musique et la danse en milieu urbain ». Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213065.

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Van, Rensburg Adriana Janse. « Songwriting in adolescence : an ethnographic study in the Western Cape ». Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/20901.

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Thesis (D. Phil.)--University of Stellenbosch, 2004.
ENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of adolescent songwriting phenomenologically to ascertain the implications for music education. Secondary aims and research questions include ascertaining if and to what extent songwriting in adolescence serves as medium for emotional expression, self-therapy, socio-cultural cohesion and informal learning. Other secondary research aims are establishing the quality of the creative product and determining the implications for music education curricula in keeping with current curriculum development strategies. Adolescents’ engagement in music is considered as a socio-cultural phenomenon. Individuals’ interaction with music is thus considered on Doise’s (1986:10-16) four levels of social explanation: the intra-personal, the interpersonal, the positional level and the ideological level. On the intra-personal level music is viewed as a technology of the self (DeNora, 2000), a medium for selftherapy and mood control and technology of the body. On the inter-personal level music is discussed as a form of self-expression serving as communicative form. On the positional level music’s role in bonding between individuals, namely social cohesion, is expounded. Lastly, on the ideological level, music is considered as part of youth, youth culture and cultural identity. The compositional (songwriting) process is analyzed. Compositional modes, individual and collaborative, are identified and described and the creative process namely composing, is delineated according to creativity, creativity as social formation, creativity as process and the role and nature of informal learning. Adolescents use the process of songwriting to establish and enhance social cohesion, to further communication and expression with peers and to exert creative and intellectual activity in an informal learning environment. The creative product, adolescents’ songs, is analyzed and described. General perspectives and theories about musical analysis are addressed to include a broader, socio-cultural view of analysis to analyze adolescent music. The musical and lyrical features are analyzed within the context of their socio-cultural setting. The SOLO Taxonomy (DeTurk, 1988) is adapted and applied to propose an evaluation procedure for the lyrics. Dunbar-Hall’s (1999) five methods of popular music analysis are applied in combination with Goodwin’s (1992) soundimage model, synaestesia, to expand on the socio-cultural context of popular music analysis. The implications of musicology namely “formal music education” versus popular music styles and the effects of formal and informal learning strategies on songwriting are considered. A new understanding of musical analysis namely “musical poetics” (Krims, 2000) is adopted and the role that locality plays in this analysis is expounded. The role of notation and playing by ear is set out to validate the adolescents’ creative product. The research methodology employed in this research include group discussion, observation, experience sampling method (adapted from Larson & Csikszentmihalyi, 1983) and individual interviews and are described according to methodology, results and analysis of the results. General perspectives on music education curricula are considered in light of the possible contribution songwriting, as an informal learning activity, could bring to music education as composition is currently a high priority in international music education discourse and features prominently in current curricula. Recommendations and conclusions are made.
AFRIKAANSE OPSOMMING: Die hoofdoelstelling van hierdie studie is om die aard en funksie van liedjieskryf in adolessensie fenomenologies te beskryf om sodoende die implikasies vir musiekopvoedkunde te bepaal. Sekondêre doelstellings en navorsingsvrae sluit in die vasstelling van of en hoe liedjieskryf in adolessensie dien as medium vir emosionele ekspressie, self-terapie, sosio-kulturele binding en informele leer. Ander sekondêre navorsingsvrae sluit in die bepaling van die kwaliteit van die kreatiewe produk en die implikasies vir musiekopvoedkunde kurrikula met inagneming van huidige kurrikulumontwikkeling strategieë. Adolessente se interaksie met musiek word beskryf as ‘n sosio-kulturele fenomeen. Individue se interaksie met musiek word dus ontleed volgens Doise (1986:10-16) se vier vlakke van sosiale verduideliking: die intra-persoonlike, die inter-persoonlike, die posisionele en die ideologiese vlak. Op die intrapersoonlike vlak word musiek beskou as ‘n tegnologie van die self (DeNora, 2000), d.w.s as ‘n medium vir self-terapie en stemmingsbeheer asook as ‘n tegnologie van die liggaam. Op die inter-persoonlike vlak word musiek bespreek as ‘n vorm van self-ekspressie wat dien as kommunikatiewe vorm. Op die posisionele vlak word musiek se rol in die binding tussen individue, d.w.s. sosiale binding, beskryf. Laastens, op die ideologiese vlak, word musiek oorweeg as deel van jeug, jeugkultuur en kulturele identiteit. Die komposisionele (liedjieskryf) proses word geanalisser. Komposisionele metodes, individueel en gemeenskaplik, word geïdentifiseer en beskryf en die kreatiewe proses, naamlik komposisie, word gedelinieer volgens kreatiwiteit, kreatiwiteit as sosiale formasie, kreatiwiteit as proses en die rol en aard van informele leer. Adolessente gebruik die proses van liedjieskryf om sosiale binding te vestig en te bevorder, om kommunikasie en ekspressie met die portuurgroep te bevorder en om kreatiewe en intellektuele aktiwitiet in ‘n informele leeromgewing uit te oefen. Die kreatiewe produk, adolessente liedjies, word geanaliseer en beskryf. Algemene musiekanalitiese perspektiewe en teorieë word aangespreek om ‘n breër, sosio-kulturele uitkyk op analise in te sluit. Die musikale en liriese eienskappe word geanaliseer binne ‘n sosio-kulturele konteks. Die SOLO Taksonomie (DeTurk, 1988) word aangepas en toegepas om ‘n evaluasie prosedure vir die lirieke voor te stel. Dunbar-Hall (1999) se vyf metodes van populêre musiekanalise word toegepas in kombinasie met Goodwin (1992) se klankbeeld model, synaestesia, om uit te brei op die sosio-kulturele konteks van populêre musiekanalise. Die implikasies van musikologie, “formele musiekopvoedkunde” versus populêre musiek en die effek van formele en informele leerstrategieë op liedjieskryf word oorweeg. ‘n Nuwe begrip van musikale analise, naamlik “musikale poëtika” (Krims, 2000) word aangeneem en die rol van lokaliteit in analise word verduidelik. Die rol van notasie en op gehoor speel word aangespreek om adolessente se kreatiewe produk te regverdig. Die navorsingsmetodologie toegepas in hierdie navorsing sluit in groepsbespreking, observasie, ondervinding-steekproef metode (aangepas van Larson & Csikszentmihalyi, 1983) en individuele onderhoude en word beskryf volgens metodologie, resultate en die analise van die resultate. Aangesien komposisie tans hoë prioriteit in internasionale debat geniet en prominent geplaas is in huidige musiekopvoedkunde kurrikula word algemene perspektiewe op musiekopvoedkunde kurrikula oorweeg in die lig van die moontlike bydrae wat liedjieskryf as informele leeraktiwiteit aan musiekopvoedkunde kan bring.

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Drewett, Michael. « An analysis of the censorship of popular music within the context of cultural struggle in South Africa during the 1980s ». Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1007098.

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The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used controversial language subsequently experienced censorship in different forms, including police harassment. Musicians were also subject to anti-apartheid forms of censorship,such as the United Nations endorsed cultural boycott. Not all instances of censorship were overtly political, but they were always framed by, and took place within, a repressive legal-political system. This thesis found that despite the state's attempt to maintain its hegemony, musicians sought ways of overcoming censorship practices. It is argued that the ensuing struggle cannot be conceived of in simple binary terms. The works of Antonio Gramsci, Michel Foucault and Pierre Bourdieu, in particular, are applied to the South African context in exploring the localized nuances of the cultural struggle over music censorship. It is argued that fragmented resistance to censorship arose out of the very censorship structures that attempted to silence musicians. Textual analysis brought to light that resistance took various forms including songs with provocative lyrics and titles, and more subtle means of bypassing censorship, including the use of symbolism, camouflaged lyrics, satire and crossover performance. Musicians were faced with the challenge of bypassing censors yet nevertheless conveying their message to an audience. The most successful cases negotiated censorial practices while getting an apparent message across to a wide audience. Broader forms of resistance were also explored, including opposition through live performance, counter-hegemonic information on record covers, resistance from exile, alignment with political organizations and legal challenges to state censorship. In addition, some record companies developed strategies of resistance to censorship. The many innovative practices outlined in this thesis demonstrate that even in the context of constraint, resistance is possible. Despite censorship, South African musicians were able to express themselves through approaching their music in an innovative way.

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Ball, Rebecca Elizabeth. « Portland's Independent Music Scene : The Formation of Community Identities and Alternative Urban Cultural Landscapes ». PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/126.

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Portland has a rich, active, and fluid music culture which is constantly being (re)created and (re)defined by a loose network of local musicians who write, record, produce, promote, distribute, and perform their music locally (and sometimes regionally, nationally, and internationally) and local residents, or audiences, who engage in local musical practices. Independent ("indie") local music making in Portland, which is embedded in DIY (do it yourself) values, creates alternative cultural places and landscapes in the city and is one medium through which some people represent themselves in the community. These residents not only perform, consume, promote, and distribute local music, they also (re)create places to host musical expressions. They have built alternative and democratic cultural landscapes, or culturescapes, in the city. Involved Portlanders strive to make live music performances accessible and affordable to all people, demonstrating through musical practices that the city is a shared space and represents a diversity of people, thoughts, values, and cultural preferences. Using theoretical tools from critical research about the economic, spatial, and social role of cultures in cities, particularly music, and ethnographic research of the Portland music scene, including participant observations and in-depth interviews with Portland musicians and other involved residents, this research takes a critical approach to examining ways in which manifestations of independent music are democratic cultural experiences that influence the city's cultural identity and are a medium through which a loosely defined group of Portlanders represent their cultural values and right to the city. In particular, it focuses on how local musical practices, especially live performances, (re)create alternative spaces within the city for musical expressions and influence the city's cultural landscapes, as well as differences between DIY independent music in Portland and its commodified forms and musicians and products produced by global music industry.

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Cummings, Joanne. « Sold out ! : an ethnographic study of Australian indie music festivals ». Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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The focus of this sociological research is on the five most popular and commercially successful Australian indie music festivals: Livid, Big Day Out, the Falls festival, Homebake, and Splendour in the Grass. The three key features of Australian indie music festivals are, firstly, that they are multi-staged ticketed outdoor events, with clearly defined yet temporal boundaries. Secondly, the festivals have a youth-orientated focus yet are open to all ages. Finally, the festivals are primarily dominated by indie-guitar culture and music. My aim is to investigate how these music festivals are able to strike an apparently paradoxical balance between the creation of a temporal community, or network of festivalgoers, and the commodity of the festivals themselves. My research methodology utilises a postmodern approach to ethnography, which has allowed me to investigate the festivalgoers as an ‘insider researcher.’ Data was collected through a series of participant observations at Australian indie music festivals which included the use of photographs and field notes. In addition I conducted nineteen semi-structured interviews and two focus groups with festivalgoers and festival organisers. The thesis adopts a post-subcultural approach to investigating the festivalgoers as an ideal type of a neo-tribal grouping. Post-subculture theory deals with the dynamic, heterogeneous and fickle nature of contemporary alliances and individuals’ feelings of group ‘in-betweeness’ in late capitalist/ global consumer society. I argue that Maffesoli’s theory of neo-tribalism can shine new light on the relationships between youth, music and style. Music festivals are anchoring places for neo-tribal groupings like the festivalgoers as well as a commercialised event. An analysis of the festivalgoers’ ritual clothing (t-shirts as commodities), leads to the conclusion that the festivalgoers use t-shirts to engage in a process of identification. T-shirts, I argue, are an example of a linking image which creates both a sense of individualism as well as a connection to a collective identity or sociality. Through a case study of moshing and audience behaviour it is discovered that the festivalgoers develop neo-tribal sociality and identification with each other through their participation in indie music festivals. Although pleasure seems to be the foremost significant dimension of participating in these festivals, the festivalgoers nevertheless appear to have developed an innate sense of togetherness and neo-tribal sociality. The intensity and demanding experience of attending a festival fosters the opportunity for a sense of connectedness and belonging to develop among festivalgoers.

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Montano, Edward James. « DJs, clubs and vinyl the cultural commodification and operational logics of contemporary commercial dance music in Sydney / ». Phd thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/19792.

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Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2007.
Bibliography: p. 291-313.
Introduction -- "Back to this subculture thing": literature review and methodology -- "The crowd went berserk": dance music and club culture in Sydney and Australia -- "Once you find a groove you've got to keep it locked": the role and significance of the DJ -- "There's a great myth about that": DJ culture in Sydney -- "You're not a real DJ unless you play vinyl": technology and formats: the progression of dance music and DJ culture -- "What is underground really?": defining the structure, significance and meaning of dance culture -- "Where are they going to go next?": shifting the focus of dance music studies.
The development of contemporary, post-disco dance music and its associated culture, as representative of a (supposedly) underground, radical subculture, has been given extensive consideration within popular music studies. Significantly less attention has been given to the commercial, mainstream manifestations of this music. Furthermore, demonstrating the influence of subculture theory, existing studies of dance culture focus largely on youth-based audience participation, and as such, those who engage with dance music on a professional level have been somewhat overlooked. In an attempt to rectify these imbalances, this study examines the contemporary commercial dance music scene in Sydney, Australia, incorporating an analytical framework that revolves mainly around the work of DJs and the commercial scene they operate within.--An ethnographic methodological approach underpins the majority of this thesis, with interviews forming the main source of research material. Beginning with a discussion of the existing academic literature on dance culture and dance scenes, an historical context is subsequently established through a section that traces the development of dance culture from an underground phenomenon to a mainstream leisure activity, both within and outside Australia.--The ideas, opinions and interpretations of a selection of local DJs and other music industry practitioners who work in Sydney are central to the analysis of DJ culture herein. Issues discussed include the interaction and relationship between the DJ and their crowd, the technology and formats employed by DJs, and the DJ's multiple roles as entertainer, consumer and educator. The final part of the study gives consideration to the structure of the Sydney dance scene, in regard to the frequently used, but rarely critically analysed, terms 'underground' and 'mainstream'. The thesis concludes with a discussion that challenges the structural rigidity imposed by subcultural theory and scene-based analysis, arguing instead for a greater degree of fluidity in the theoretical approaches taken towards the study of contemporary dance music scenes.
Mode of access: World Wide Web.
vi, 334 p

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Li, Cheuk-yin, et 李卓賢. « Exploring the productiveness of fans : a studyof Ho Denise Wan See (HOCC) Fandom ». Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B4587122X.

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Johnson, Alfred B. « Fascination machine : a study of pop music, mass mediation, and cultural iconography ». Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.

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The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are produced, circulated, and read as texts; and it examines, when appropriate, the significant content of these icons.

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Ballico, Christina. « Bury me deep in isolation : A cultural examination of a peripheral music industry and scene ». Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/682.

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Since 1998, Perth bands have had a strong presence within the Australian music scene. Primarily, each year between 1998 and 2009, songs by indie pop/rock acts from Perth have charted within national broadcaster triple j’s Hottest 100 countdown. Many of the albums from which these songs have been taken have sold in excess of 35,000 copies, and a number of successful and recognised Perth bands have toured with the nation’s largest music festival, the Big Day Out as well as their own high profile national tours. At the same time, Perth’s local indie pop/rock music industry has undergone tremendous growth and development, becoming more integrated into this nationally focused industry while also making significant inroads internationally. This research comprises 40 in-depth qualitative research interviews with 48 musicians and key industry players from Perth’s indie pop/rock music industry and scene. It presents a socio-culturally based examination to explore its evolution over the past decade. This is presented through an examination of the personal experiences of those involved in development of the local industry and who experienced, or witnessed an increase in success and recognition of Perth bands in national, and at times international, contexts. Broadly, this research explores the repercussions the shift in attitude toward Perth’s indie pop/rock music industry and scene as being worthy of national attention and recognition. In particular, it discusses the implications this has on the functioning of this industry as well as the careers of those within it. Further, this study examines what it means to be a musician and/ or music industry member in and from Perth along with the attitudes toward supporting local music product locally and its attempts to connect with audiences beyond the state. Within this, an examination of the influence of the city’s geographical isolation on the functioning of the local industry and on the ability for musicians to connect with audiences beyond the state is presented alongside an exploration of the role of social networks and the structure of the community of practice evident in this local industry. Additionally, the notions of creativity and creative process, core-periphery, and place and space are examined in relation to the functioning of this industry in business and creative contexts. Underwriting this is an examination of the shifts in the national and international music industries and associated music culture. These shifts all at once influenced the validity for Perth music to enter the national market and impacted upon the ongoing integration of this local industry within the national and international markets.

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Cannon, Bryan. « Notes, Phrases, and Clauses : An Examination of Identity in Music Focused Conversation ». TopSCHOLAR®, 2013. http://digitalcommons.wku.edu/theses/1269.

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Music is everywhere. From formal occasions to a person’s morning run. Music is available on cell phones, computers, in religious ceremonies, at concerts and venues. Music is seen by society to be important and a person’s choice of music can be used to present an identity. The question considered in this article is how people talk about music and how they present identity through their discussion. The current study examines eight focus groups of three actors instructed to simply talk about music. The discussions were recorded and analyzed in a conversation analytic style to identify the structures of the conversations and how these were used to present and regulate identity. Participants also provided background information about their music preferences and experiences as well as their goals in managing their self-presentation. The results of the study focus on the general question of “What kind of music do you listen to?” and how participants managed their answers. Particular attention is given to actors’ management of opportunities to create an in-group identification and avoid inference rich categorization. This study focuses primarily upon different ways this can be managed. Examples include three part list use, storytelling, subgenre specifications, and the use of phrases like “I listen to all kinds of music.” It is argued that these devices can be used by an actor to present themselves as a member of the current in-group while avoiding being categorized in a possibly negative way based on their music choices.

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Hopkins, Susan. « Pop heroines and female icons : youthful femininity and popular culture ». Thesis, Queensland University of Technology, 1999.

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The thesis suggests much feminist theorising on girls' and young women's relationship to popular culture is limited by a 'moral-political' approach which searches for moral and political problems and solutions in the consumption of popular images of femininity. The thesis offers a critique of such 'moral-political' interpretations of the relationship between youthful femininity and popular culture. Following thinkers such as Friedrich Nietzsche and Jean Baudrillard, the thesis opposes the political preoccupation with 'reality' and 'truth'. The study follows Nietzsche's and Baudrillard's notion of the 'Eternal-Feminine' which accepts the necessity of illusion, deception and appearances. Through a close textual analysis of magazines, films, television and music video, this study offers an aesthetic appreciation of popular culture representations of femininity. The thesis comprises six essays, the first of which explains my Nietzschean inspired aesthetic approach in more detail. The second essay looks at images and discourses of supermodels and model femininity in women's magazines. The third looks at image-based forms of 'girl power' from Madonna to the Spice Girls. The fourth essay examines the 'Cool Chics' of the pay TV channel TVJ,from Wonder Woman to Xena: Warrior Princess. The fifth essay, 'Gangster Girls: From Goodfellas to Pulp Fiction' considers the 1990s model of the femme fatale, the bad girl who thrives on moral chaos. The final essay 'Celebrity Skin: From Courtney Love to Kylie Minogue' suggests some of the most powerful feminine role models of our time have built their careers not on notions of authenticity and truth but rather on the successful management of illusion and fantasy. The essay argues that our social world has outgrown the traditional moral-political approach which aims to lead girls and young women from 'deceptive''immoral' appearances to moral, 'authentic' 'reality'. The pleasures of popular culture, Isuggest, cannot always be linked to deep meanings but may be drawn from superficial appearances and beautiful surfaces.

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Campbell, Christopher Darnell. « A stylistic analysis of 2pac Shakur's rap lyrics : In the perpspective of Paul Grice's theory of implicature ». CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2130.

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Lively, Beth. « Mediated depictions of child physical abuse : a narrative analysis ». Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864925.

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In recent years, the media have publicized the social problem of physical child abuse. This study examined three artifacts of physical abuse: the children's book Robin's Story, the popular song "Luka," and the television documentary Scared Silent: Exposing and Ending Child Abuse. Chapter One described each artifact and provided a literature review which detailed the writings about physical child abuse and artifacts discussing this topic. The chapter then posed research questions about how the artifacts viewed abused children and their abusers, the causes of abuse, and the solutions proposed for ending physical abuse.Chapter One finally discussed the narrative framework of rhetorical analysis used to examine the three artifacts. The narrative method used in this analysis employed three steps: 1) An examination of narrative structure, which discussed the plot of the story, the crucial points of the story and the events which supplemented those points, and the steps of breach, crisis, redress, and reintegration in the narrative; 2) An examination of narrative rationality, which talked about the completeness and true to life quality of the story and evaluated the reasons the rhetors gave for following the course of action endorsed by the story; and 3) An examination of narrative standards, including truth standard or how the narrative compares with what the audience believes is true; aesthetic standard or the grammar, setting, and characterization within the story, and ethical standard or the values expressed within the narrative. Chapter Two applied this framework to the children's book Robin's Story. Chapter Three viewed the popular song "Luka" through the narrative framework. Chapter Four discussed the documentary Scared Silent in terms of narrative analysis.Chapter Five then discussed the conclusions of the analysis for each artifact, artifacts discussing physical abuse, and for rhetoric. Some of the conclusions reached were that artifacts discussing physical child abuse should attempt to make their stories universal, that such artifacts need to distinguish between abuse and physical punishment, and that artifacts dealing with this problem must provide concrete courses of action to end physical abuse. This analysis concluded that, while narrative analysis provided the answers to the research questions, this framework needs to be made into a concrete method of rhetorical analysis to ensure that narratives are effectively evaluated. Narrative analysis was positive in this analysis, however, in that it supported the definitions of rhetoric as value, epistemology, motive, drama, meaning, and argument. This analysis found that, to end the problem of physical child abuse, rhetors must work with experts in this field and tailor artifacts from different perspectives to various audiences using different forms of media.
Department of Speech Communication

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Sunega, Fernanda Alves. « Bem vindos a zero dezenove : uma etnografia da radio bandeira FM e do programa de rap interior paulista ». [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279290.

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Orientador: Rita de Cassia Lahoz Morelli
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-10T15:23:19Z (GMT). No. of bitstreams: 1 Sunega_FernandaAlves_M.pdf: 1198744 bytes, checksum: 05e2319aaf71dd5f21e0a9447eade0c0 (MD5) Previous issue date: 2008
Resumo: De acordo com Néstor Garcia Canclini, em ¿Cidades e cidadãos imaginados pelos meios de comunicação¿, a sociedade está submetida a uma ¿urbanização que desurbaniza¿, onde os meios de comunicação atuam de maneira a criar vínculos entre os bairros, periferias e centro. Diante da heterogeneidade urbana, para este autor, a mídia apresenta um espetáculo reconfortante onde a população sente-se incluída nas mais diversas manifestações da cidade. Surge então a questão principal que será abordada neste trabalho: a rádio comunitária assume o papel das mídias, na definição de Canclini, estabelecendo um elo com a cidade ou reforça a localidade em que está inserida? A partir da pesquisa em rádio comunitária do Jardim das Bandeiras, periferia da cidade de Campinas, é possível analisar o fluxo de informações originado nessa territorialidade focalizando a experiência local de um programa de rap e seus atores sociais
Abstract: According to Néstor Garcia Canclini, in "Cities and citizens imagined by media", the society is submitted to a "urbanização que desurbaniza", where media acts in order to create links among districts, peripheries and downtown. Canclini believes that due to the urban heterogeneity, the media presents a reinvigorating show where the population is included in several city manifestations. Then appears the ultimate issue which will be treated in this work: does community radio take over the media¿s role, as defined by Canclini, establishing a link with the city or does it reinforce the place where it is inserted? Starting from the research in community radio of the Jardim das Bandeiras, periphery of the Campinas city, it is possible to analyze the information flow originated in that territoriality focusing the local experience of a rap program and their social actors
Mestrado
Antropologia Social
Mestre em Antropologia Social

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Mangin, Timothy. « Mbalax : Cosmopolitanism in Senegalese Urban Popular Music ». Thesis, 2013. https://doi.org/10.7916/D85X2H4N.

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This dissertation is an ethnographic and historical examination of Senegalese modern identity and cosmopolitanism through urban dance music. My central argument is that local popular culture thrives not in spite of transnational influences and processes, but as a result of a Senegalese cosmopolitanism that has long valued the borrowing and integration of foreign ideas, cultural practices, and material culture into local lifeways. My research focuses on the articulation of cosmopolitanism through mbalax, an urban dance music distinct to Senegal and valued by musicians and fans for its ability to shape, produce, re-produce, and articulate overlapping ideas of their ethnic, racial, generational, gendered, religious, and national identities. Specifically, I concentrate on the practice of black, Muslim, and Wolof identities that Senegalese urban dance music articulates most consistently. The majority of my fieldwork was carried out in the nightclubs and neighborhoods in Dakar, the capital city. I performed with different mbalax groups and witnessed how the practices of Wolofness, blackness, and Sufism layered and intersected to articulate a modern Senegalese identity, or Senegaleseness. This ethnographic work was complimented by research in recording studios, television studios, radio stations, and research institutions throughout Senegal. The dissertation begins with an historical inquiry into the foundations of Senegalese cosmopolitanism from precolonial Senegambia and the spread of Wolof hegemony, to colonial Dakar and the rise of a distinctive urban Senegalese identity that set the proximate conditions for the postcolonial cultural policy of Négritude and mbalax. Subsequent chapters focus on the practices of Wolofness, Sufism, and blackness articulated through mbalax.

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Higgins, Nicholas Andreas. « Confusion in the Karnatic Capital : Fusion in Chennai, India ». Thesis, 2013. https://doi.org/10.7916/D8B56RXB.

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This dissertation examines how a contested musical practice makes the problems of modernity in India audible. In particular, I look at the relationship between South Indian "fusion" musicians and India's recent economic and cultural growth attributed to the economic reforms of 1991. Fusion is the local name for a musical practice that combines South Indian classical music with elements from rock, jazz, and world music. During thirteen months of ethnographic fieldwork carried out in the South Indian city of Chennai between 2006-8, I attended countless concerts, interviewed dozens of people involved with musical production, and performed with musicians. I observed how musicians and audiences perpetuated the idea that fusion was contested and I documented the local debates that often expressed a deep uncertainty and ambiguity about the legitimacy of fusion. What can a contested musical practice reveal about the recent economic and cultural changes in contemporary urban India? Fusion is contested because its multiple and contradicting histories, definitions, and opinions make it a unique musical problem in Chennai. This problem is further complicated when the explicit intension of fusion as musical mixing is also understood as an example of persistent debates of cultural mixing that are so crucial to India's colonial history and postcolonial present. In this dissertation, I show how fusion triggers debates that provide a unique constellation of irresolvable tensions that help situate contemporary, urban, South Indian musicians within the changing relations between India and the West. The contestation about fusion has led to a lacuna of critical scholarship that this dissertation remedies. I argue that rather than being a reason to overlook fusion, fusion's contestation loads it with meaning and makes it a rich, unexamined site of expressive culture. It provides a unique domain to understand how musicians in Chennai represent the always-changing relations of India and the West through their discourse about music and musical sound.

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Calle, Simón. « Reinterpreting the Global, Rearticulating the Local : Nueva Música Colombiana, Networks, Circulation, and Affect ». Thesis, 2012. https://doi.org/10.7916/D893117S.

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This dissertation analyses identity formation through music among contemporary Colombian musicians. The work focuses on the emergence of musical fusions in Bogotá, which participant musicians and Colombian media have called "nueva música Colombiana" (new Colombian music). The term describes the work of bands that assimilate and transform North-American music genres such as jazz, rock, and hip-hop, and blend them with music historically associated with Afro-Colombian communities such as cumbia and currulao, to produce several popular and experimental musical styles. In the last decade, these new fusions have begun circulating outside Bogotá, becoming the distinctive sound of young Colombia domestically and internationally. The dissertation focuses on questions of musical circulation, affect, and taste as a means for articulating difference, working on the self, and generating attachments others and therefore social bonds and communities. This dissertation considers musical fusion from an ontological perspective influenced by actor-network, non-representational, and assemblage theory. Such theories consider a fluid social world, which emerges from the web of associations between heterogeneous human and material entities. The dissertation traces the actions, interactions, and mediations between places, people, institutions, and recordings that enable the emergence of new Colombian music. In considering those associations, it places close attention to the affective relationships between people and music. In that sense, instead of thinking on relatively fixed and consistent relationships between music, place, and identity, built upon discursive or imagined ties, the work considers each of these concepts as a network of relations enmeshed with each other and in consistent re-articulation.

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Barr, Adrian B. « The transcendent experience in experimental popular music performance ». Thesis, 2012. http://handle.uws.edu.au:8081/1959.7/538215.

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This thesis is an investigation into experiences of transcendence in music performance driven by the author’s own performance practice and the experimental popular music environment in which he is situated. Employing a phenomenological approach, 19 interviews were conducted with musicians, both locally and internationally, who were considered strong influences on the author’s own practice. The interviews focused on transcendent experiences in music performance and provided rich texts for analysis and comparison with existing models of transcendent experience. The main areas investigated are how transcendence was experienced, the musical and extra-musical aspects of these experiences, and how discussing the significance of these experiences is useful for one’s musical practice and in educational contexts. The framework of transcendent experience in experimental popular music developed in this thesis encapsulates a diverse range of personal and collective experiences of music performance. Despite this diversity, of individual musicianship, experiences and personality, a common experiential ground of experimental popular music performance providing a vehicle for shared musical experiences and meaning, including transcendence, is revealed. The outcomes of this study provide unique insight into the creative processes and music-making in the form of experimental popular music and, in doing so, have potential implications for education and general musicianship.

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Garland, Shannon. « Music, Affect, Labor, and Value : Late Capitalism and the (Mis)Productions of Indie Music in Chile and Brazil ». Thesis, 2014. https://doi.org/10.7916/D8WS8RSG.

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This dissertation traces the tensions surrounding indie music production in Santiago, Chile and Sao Paulo, Brazil. I conducted several years of ethnographic research on locally situated, yet transnationally interpolated, musical production, circulation and listening practices in Santiago and Sao Paulo. I open by detailing the expansion of the indie touring market from the global north into both cities, theorizing the enlistment of affect as a neoliberal technique for producing monetary value. The next chapter considers spaces for musical association as forms of infrastructure that both emerge from and themselves help constitute musical-social networks in Santiago. I follow by showing how the history of Brazilian individuals' engagement with particular sets of indie sounds from the global north bear upon the contemporary formation of infrastructures of social relations, musical aesthetics, and places for musical and social association. Finally, I detail how the tensions between the construction of audience, value, aesthetics and circulation arising from new production structures manifest in the politics of a new type of Brazilian institution called Fora do Eixo. Here, I inspect the logics of aesthetic valuation in building structures for music production within a complex state-private nexus of cultural funding in Brazil. As a whole, this dissertation explores the political struggles emerging as actors seek to establish new structures for participating in live shows and for playing music as both a creative practice and as an economic activity within emerging forms of communication and cultural circulation made possible by digital media. Each struggle is simultaneously interpolated by the messy articulation of transnationally-produced notions of aesthetics, authentic modes of engagement with music, and moral-ethical ways of organizing music production, circulation and remuneration as a social practice. The dissertation thus highlights the way new media and economic logics build upon and clash with historical practices of production, evaluation of aesthetics, and regimes for mediating the artistic, the economic, and the social.

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Karl, Brian. « Across a Divide : Mediations of Popular Music in Contemporary Morocco and Spain ». Thesis, 2012. https://doi.org/10.7916/D8F769MJ.

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This dissertation is about the mediation of cross-cultural difference among Moroccan and Spanish musical practitioners. It is based on the idea that negotiations across the gaps of such difference have been promoted through the increased circulation of people, products and ideas in the modern era. Based on fieldwork during the years 2003-2007, primarily in the urban sites of Granada, Spain and Fez, Morocco, the project focuses on popular music, how both the production and reception of music are critically bound up with notions of genre, how resulting associations of musical practice are affected by different uses of technology, and how musical practices of all types partake of and help form different ideas of belonging.

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Robertson, Mary. « Claiming sounds, constructing selves : the racial and social imaginaries of South African popular music ». Thesis, 2005. http://hdl.handle.net/10413/5112.

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This thesis explores some of the ways in which listening to South African popular music allows individuals to enter into imaginative engagements with others in South Africa, and in so doing, negotiate their place in the social landscape. Taking as its starting point the notion of the "musical imaginary" - the web of connotational meanings arising out of the interaction between music and society, rendering it a particularly suitable medium through which to imagine social actors - it focuses specifically on the role of music in constructions of 'race' and, to a lesser extent, of 'nation'. It examines some of the ways in which dominant discourses exert pressure on what is imagined, as well as highlighting the creativity of listeners who appropriate the musical imaginary for their own ends of identification. It attempts to depict the complexity of musical identification in postapartheid South Africa, in which individuals must negotiate multiple boundaries marking difference, including categories of 'race', ethnicity, gender and class. It also investigates perceptions of the role of music in generating new identities and modes of social interaction, and offers some speculations as to how an analysis of these perceptions may contribute to current theoretical models of change in multicultural societies.
Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2005.

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Belkind, Nili. « Music in Conflict : Palestine, Israel and the Politics of Aesthetic Production ». Thesis, 2014. https://doi.org/10.7916/D8QN64WP.

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This is an ethnographic study of the fraught and complex cultural politics of music making in Palestine-Israel in the context of the post-Oslo era. I examine the politics of sound and the ways in which music making and attached discourses reflect and constitute identities, and also, contextualize political action. Ethical and aesthetic positions that shape contemporary artistic production in Israel-Palestine are informed by profound imbalances of power between the State (Israel), the stateless (Palestinians of the occupied Palestinian territories), the complex positioning of Israel's Palestinian minority, and contingent exposure to ongoing political violence. Cultural production in this period is also profoundly informed by highly polarized sentiments and retreat from the expressive modes of relationality that accompanied the 1990s peace process, strategic shifts in the Palestinian struggle for liberation, which is increasingly taking place on the world stage through diplomatic and cultural work, and the conceptual life and currency Palestine has gained as an entity deserving of statehood around the world. The ethnography attends to how the conflict is lived and expressed, musically and discursively, in both Israel and the occupied Palestinian territories (oPt) of the West Bank, encompassing different sites, institutions and individuals. I examine the ways in which music making and attached discourses reflect and constitute identities, with the understanding that musical culture is a sphere in which power and hegemony are asserted, negotiated and resisted through shifting relations between and within different groups. In all the different contexts presented, the dissertation is thematically and theoretically underpinned by the ways in which music is used to culturally assert or reterritorialize social and spatial boundaries in a situation of conflict. Beginning with cultural policy promoted by music institutions located in Israel and in the West Bank, the ethnography focuses on two opposing approaches to cultural interventions in the conflict: music as a site of resistance and nation building amongst Palestinian music conservatories located in the oPt, and music is a site of fostering coexistence and shared models of citizenship amongst Jewish and Arab citizens in mixed Palestinian-Jewish environments in Israel. This follows with the ways in which music making is used to re-write the spatial and temporal boundaries imposed on individuals and communities by the repressive regime of the occupation. The ethnography also attends to the ways in which the cultural construction of place and nation is lived and sounded outside of institutional frameworks, in the blurry boundaries and `boderzones' where fixed ethno-national divisions do not align with physical spaces and individual identities. This opens up spaces for alternative imaginings of national and post-national identities, of resistance and coexistence, of the universal and the particular, that musically highlight the daily struggles of individuals and communities negotiating multiplex modalities of difference.

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Gonzalez, Melissa. « "Cien por Ciento Nacional!" Panamanian Música Típica and the Quest for National and Territorial Sovereignty ». Thesis, 2015. https://doi.org/10.7916/D8319TTD.

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This dissertation investigates the socio-cultural and musical transfigurations of a rural-identified musical genre known as música típica as it engages with the dynamics of Panama's rural-urban divide and the country's nascent engagement with the global political economy. Though regarded as emblematic of Panama's national folklore, música típica is also the basis for the country's principal and most commercially successful popular music style known by the same name. The primary concern of this project is to examine how and why this particular genre continues to undergo simultaneous processes of folklorization and commercialization. As an unresolved genre of music, I argue that música típica can offer rich insight into the politics of working out individual and national Panamanian identities. Based on eighteen months of ethnographic fieldwork conducted in Panama City and several rural communities in the country's interior, I examine the social struggles that subtend the emergence of música típica's genre variations within local, national, and transnational contexts. Through close ethnographic analysis of particular case studies, this work explores how musicians, fans, and the country's political and economic structures constitute divisions in regards to generic labeling and how differing fields of musical circulation and meaning are imagined. This study will first present an examination of late nineteenth and twentieth century Panamanian nationalist discourses in order to contextualize música típica's stylistic and ideological development as a commercial genre of popular music. The following chapter will construct a social history of música típica that takes into account the multiple historical trajectories that today's consumers and producers engage, negotiate, and contest in an attempt to ascribe social and cultural meaning to the role the genre assumes in contemporary discourses of national identity. Processes of folkloric canonization and reconstruction will then be examined in order to understand how the marketing efforts of the Panamanian government draw on a discourse of nationality. The role of corporate sponsorship in today's música típica scene will also be investigated, specifically addressing how the marketing of this genre by beer companies, national cultural festivals, and the Panamanian television industry builds on a foundation of commercial music practices. Subsequent chapters will focus on the local and transnational dynamics of genre formation and dissolution as revealed in the ideological discourses and socio-musical practices of música típica's practitioners, especially in accordion and vocal performance practices. An analysis of música típica's field of cultural production, with its particular mappings of identity, place, and sound, will provide insight into Panamanian modernity and the social experiences of Panamanians, especially within Latin American and global contexts.

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Scales, Christopher Alton. « First Nations popular music in Canada : identity, politics and musical meaning ». Thesis, 1996. http://hdl.handle.net/2429/4433.

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In this thesis, First Nations popular music is examined as a polysemic sign (or symbolic form) whose meaning is mediated both socially and politically. Native popular music is a locus for the action of different social forces which interact in negotiating the nature and the meaning of the music. Music is socially meaningful in that it provides a means by which people construct and recognize social and cultural identities. As such, First Nations popular music functions as an emblem of symbolic differentiation between Canadian natives and non-natives. Native pop music plays host to a number of political meanings embedded in this syncretic musical form. Struggle over meaning is mediated within the music itself: in the lyrics, in the music, in the juxtaposition of musical styles, and between music and text. Mediation on all of these levels is further influenced by the mass media. Meaning on individual, local and national levels is dependent on the socio-political positioning of both the performers and the audience. Because socio-political positions are themselves fluid, political meanings are also in constant flux. As a polysemic sign vehicle, First Nations popular music is a locus for these various meanings and a site for the construction and deconstruction of political discourse.

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« Rock music and hegemony in China ». Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5887223.

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by Wong Yan Chau, Christina.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.
Includes bibliographical references (leaves 175-186).
Chapter I. --- Introduction --- p.2
Chapter II. --- Historical Background --- p.5
Chapter III. --- A Review of the Related Literature --- p.14
Chapter A. --- The Culture Industry Approach --- p.15
Chapter B. --- The Liberal-Pluralist Approach --- p.26
Chapter C. --- The Technological Approach --- p.31
Chapter IV. --- The Theoretical Perspective --- p.36
Chapter V. --- Methodological Approach to Study --- p.42
Chapter A. --- Content Analysis of Lyrical Messages --- p.42
Chapter 1. --- Method --- p.42
Chapter 2. --- Data --- p.43
Chapter 3. --- Analytic Framework of the Textual Analysis --- p.45
Chapter B. --- Analysis of Rock Music within Hegemony --- p.48
Chapter 1. --- Method --- p.48
Chapter 2. --- Data --- p.50
Chapter VI. --- Meanings in Rock Music --- p.52
Chapter A. --- Themes in each fictional mode --- p.52
Chapter B. --- Thematic content of Rock Music --- p.54
Chapter 1. --- The Ironic Mode --- p.54
Chapter 2. --- The Mimetic Mode --- p.64
Chapter a. --- Phenomena of Identity Crisis --- p.64
Chapter i. --- Loss of direction --- p.65
Chapter ii. --- Roots-seeking --- p.68
Chapter iii. --- Alternating identity --- p.69
Chapter iv. --- Alienation --- p.71
Breakaway --- p.71
A Stranger in the City --- p.74
Chapter b. --- Outlook on Life --- p.76
Chapter c. --- Social Problems --- p.79
Chapter i. --- War --- p.79
Chapter ii. --- Incivility --- p.81
Chapter d. --- The Experience of Growing Up --- p.82
Chapter i. --- Anti-patriarchism --- p.82
Chapter ii. --- Wandering --- p.83
Chapter iii. --- The Loss of Childhood --- p.84
Chapter e. --- Love --- p.85
Chapter i. --- Yearning for love --- p.85
Chapter ii. --- Frustrations with love --- p.86
Chapter iii. --- Wild love --- p.88
Chapter iv. --- Inauthentic love --- p.90
Chapter 3. --- The Leadership Mode --- p.93
Chapter a. --- The Exploratory Spirit --- p.93
Chapter b. --- Individuality and Non-Conformity --- p.96
Chapter c. --- The Authentic Self --- p.98
Chapter 4. --- The Romantic Mode --- p.102
Chapter a. --- Nostalgia for a Glorious Past --- p.102
Chapter b. --- Anarchy in the Demonic World --- p.105
Chapter c. --- Union with nature --- p.107
Chapter d. --- The Pastoral Utopia --- p.111
Chapter e. --- Fictional Characters and Objects Speaking --- p.112
Chapter 5. --- The Mythic Mode --- p.117
Chapter C. --- The World View of Rock Music --- p.120
Chapter VII. --- The Relations of Rock Music to Hegemony --- p.125
Chapter A. --- Messages of Rock and the Hegemony --- p.125
Chapter B. --- Music as a Contested Terrain --- p.130
Chapter 1. --- The Hegemonic Power: Cooptation and Marginalization --- p.130
Chapter 2. --- The Deviant Culture: Struggle by Means of adaptation and negotiation --- p.140
Chapter VIII. --- Conclusion --- p.155
Chapter IX. --- Limitations of the Study --- p.158
Chapter X. --- Future Studies on Rock Music --- p.161
Notes --- p.165
Bibliography --- p.175
Discography --- p.185
Appendix 1. The Sample of Rock Songs --- p.187

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Heidemann, Kathryn. « Hearing Women's Voices in Popular Song : Analyzing Sound and Identity in Country and Soul ». Thesis, 2014. https://doi.org/10.7916/D8QF8R22.

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In this study I combine music analysis with critical theory to investigate how different conceptions of feminine identity--intersecting with race and class--are materialized through recorded sound. I present interpretive analyses of four popular songs recorded and released between 1967 and 1974: "Baby, I Love You" by Aretha Franklin, "Fist City" by Loretta Lynn, "If I Were Your Woman" by Gladys Knight and the Pips, and "Jolene" by Dolly Parton. My analyses focus on vocal performance, and vocal quality (or timbre) in particular, as I investigate the means by which the sounds of these recordings participate in cultural discourse on gender, sexuality, race, and class. These songs narrate moments in sexual love relationships (the hope of new love or the threat of infidelity), while the performances of each vocalist, the studio musicians, and the work of engineers and producers combine to create representations of black and working-class femininity that express varying degrees of assertiveness and vulnerability in the face of unequal gender power relations. I compare and contextualize these sonic expressions of identity with the personas these vocalists presented in their professional and public lives, illustrating how these recordings participate in the construction of a multi-faceted and always-emergent history of American womanhood. In order to accurately describe the relationship between musical sound and intersectional gender identity, I develop a phenomenological analytic methodology sensitive to how embodied responses (the types of physical engagements invited by sound), associative (or connotative, semiotic) responses, and social and historical context of both the recording and listener all contribute to the process of interpretation. I take my own situated listening experience as the object of study, recognizing how my listening practices and reactions, and overlapping identities--as a white, upper-middle-class woman and music scholar--impact my interpretations of these songs. My focus on the physical engagement inherent in music listening underpins the approach to vocal quality analysis I present at the outset of my study, in which I link descriptive language about voice to the physical components of vocal sound production. In my analyses of lyrics, instrumental quality, dynamics, rhythm, form, pitch, and the sonic "space" afforded by each recording, I continue to attend to the types of embodied and associative responses afforded by each element, demonstrating how an engagement with these sounds informs conceptions of gender identity.

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37

Kvetko, Peter James. « Indipop producing global sounds and local meanings in Bombay / ». Thesis, 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1761/kvetkop43407.pdf.

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38

Millington, Aliese. « Subject to change : nine constructions of the crossover between Western art and popular musics (1995-2005) ». Thesis, 2008. http://hdl.handle.net/2440/48832.

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Exchange between musical cultures has always occurred, but in the age of the global music industry, marketing categories have multiplied and often created boundaries between musics. Today the term “crossover” is attached to many of the musical exchanges that occur across these boundaries. One such exchange is represented by the intersection between Western art music string instruments and popular musics. A well-known commercial niche, this particular crossover is often discussed in popular media, but has been examined by relatively few music scholars. By way of addressing this gap, this study considers the crossover between Western art music string instruments and popular musics in the context of extra-musical promotion and critical reception. It examines four artists in the period 1995 to 2005. These four examples are: U.K./Australian string group bond; Australian string group FourPlay; U.K. violinist Nigel Kennedy; and U.K. violinist Vanessa-Mae. It also draws on other relevant cases to illuminate the discussion. The primary aim of the study is to discover and analyse the complex ways that parties engage, consciously or unconsciously, with the term “crossover”. The inherent complexity of the term is not commonly captured by scholarly musical writing since crossover is often regarded simply as a marketing term. The study begins by establishing the scholarly and popular context of the crossover between the Western art music string tradition and popular forms. Nine constructions or layers of meaning evoked by the term “crossover” are then identified. In the context of each of these nine constructions, the work continues by exploring how the term “crossover” is used in the promotion and critical reception of the examples. It is argued that crossover is constructed as a marketing category, to mark individuality, to provide media shortcuts and signposts, to evoke associations of prestige and of credibility, to increase accessibility, to encourage confrontation and to take part in larger musical debates. This research thus identifies multiple layers of meaning evoked by the term that are “subject to change” and that, in turn, illuminate deeper social and cultural implications of “crossingover”, ones which no doubt themselves continue to change.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

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39

Millington, Aliese. « Subject to change : nine constructions of the crossover between Western art and popular musics (1995-2005) ». 2008. http://hdl.handle.net/2440/48832.

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Exchange between musical cultures has always occurred, but in the age of the global music industry, marketing categories have multiplied and often created boundaries between musics. Today the term “crossover” is attached to many of the musical exchanges that occur across these boundaries. One such exchange is represented by the intersection between Western art music string instruments and popular musics. A well-known commercial niche, this particular crossover is often discussed in popular media, but has been examined by relatively few music scholars. By way of addressing this gap, this study considers the crossover between Western art music string instruments and popular musics in the context of extra-musical promotion and critical reception. It examines four artists in the period 1995 to 2005. These four examples are: U.K./Australian string group bond; Australian string group FourPlay; U.K. violinist Nigel Kennedy; and U.K. violinist Vanessa-Mae. It also draws on other relevant cases to illuminate the discussion. The primary aim of the study is to discover and analyse the complex ways that parties engage, consciously or unconsciously, with the term “crossover”. The inherent complexity of the term is not commonly captured by scholarly musical writing since crossover is often regarded simply as a marketing term. The study begins by establishing the scholarly and popular context of the crossover between the Western art music string tradition and popular forms. Nine constructions or layers of meaning evoked by the term “crossover” are then identified. In the context of each of these nine constructions, the work continues by exploring how the term “crossover” is used in the promotion and critical reception of the examples. It is argued that crossover is constructed as a marketing category, to mark individuality, to provide media shortcuts and signposts, to evoke associations of prestige and of credibility, to increase accessibility, to encourage confrontation and to take part in larger musical debates. This research thus identifies multiple layers of meaning evoked by the term that are “subject to change” and that, in turn, illuminate deeper social and cultural implications of “crossingover”, ones which no doubt themselves continue to change.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1338922
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

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40

Khotso, P. « Masculinity as a popular theme in the development of Basotho accordion music ». Thesis, 2017. http://hdl.handle.net/10500/24534.

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Text in English and some in Sesotho
This thesis examined how masculinity develops among the Basotho accordion music artists of the period 1980-2015 with an intention to propose the reshaping of masculinity conducive for a human society. Different factors that influence masculinity among the Basotho as represented by Basotho accordion music artists are scrutinized to find out how masculinity as a thematic aspect in the development of Basotho accordion music has been manifested over a period of thirty-five years. Psycho-masculinity is employed in the present study to find out the impact of the existing form of masculinity among the Basotho. The study concludes that the present form of masculinity among the Basotho is precarious, not only to women and to children, but also to men in their two categories: those who exhibit masculinity as well as those who do not show evidence of it. Therefore, the study recommends that the Basotho masculinity should pay attention to the limitations of masculinity in order to minimize and consequently eradicate its negative side while simultaneously promoting its positive side towards men, women and children at large.
Linguistics and Modern Languages
D. Phil. (Language, Linguistics and Literature)

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41

Foster, Lisa Renee. « Music, publics, and protest : the cultivation of democratic nationalism in post-9/11 America ». Thesis, 2006. http://hdl.handle.net/2152/2688.

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42

Smurthwaite, Michael. « Two commercial music radio stations and their use of Twitter ». Thesis, 2016. http://hdl.handle.net/10539/21993.

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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts (Journalism and Media Studies), 2016
This research report is an exploratory study into two regional commercial music stations (YFM and 947) and their use of Twitter as a tool to relate to, interact with and enable participation from their audiences. Of particular interest was why they are using it, what they are doing with it and how this affects the on-air content pre, during and post broadcast, if at all it does. [Abbreviated Abstract. Open document to view full version]
GR2017

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43

Cummings, Joanne, University of Western Sydney, College of Arts et School of Social Sciences. « Sold out ! : an ethnographic study of Australian indie music festivals ». 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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The focus of this sociological research is on the five most popular and commercially successful Australian indie music festivals: Livid, Big Day Out, the Falls festival, Homebake, and Splendour in the Grass. The three key features of Australian indie music festivals are, firstly, that they are multi-staged ticketed outdoor events, with clearly defined yet temporal boundaries. Secondly, the festivals have a youth-orientated focus yet are open to all ages. Finally, the festivals are primarily dominated by indie-guitar culture and music. My aim is to investigate how these music festivals are able to strike an apparently paradoxical balance between the creation of a temporal community, or network of festivalgoers, and the commodity of the festivals themselves. My research methodology utilises a postmodern approach to ethnography, which has allowed me to investigate the festivalgoers as an ‘insider researcher.’ Data was collected through a series of participant observations at Australian indie music festivals which included the use of photographs and field notes. In addition I conducted nineteen semi-structured interviews and two focus groups with festivalgoers and festival organisers. The thesis adopts a post-subcultural approach to investigating the festivalgoers as an ideal type of a neo-tribal grouping. Post-subculture theory deals with the dynamic, heterogeneous and fickle nature of contemporary alliances and individuals’ feelings of group ‘in-betweeness’ in late capitalist/ global consumer society. I argue that Maffesoli’s theory of neo-tribalism can shine new light on the relationships between youth, music and style. Music festivals are anchoring places for neo-tribal groupings like the festivalgoers as well as a commercialised event. An analysis of the festivalgoers’ ritual clothing (t-shirts as commodities), leads to the conclusion that the festivalgoers use t-shirts to engage in a process of identification. T-shirts, I argue, are an example of a linking image which creates both a sense of individualism as well as a connection to a collective identity or sociality. Through a case study of moshing and audience behaviour it is discovered that the festivalgoers develop neo-tribal sociality and identification with each other through their participation in indie music festivals. Although pleasure seems to be the foremost significant dimension of participating in these festivals, the festivalgoers nevertheless appear to have developed an innate sense of togetherness and neo-tribal sociality. The intensity and demanding experience of attending a festival fosters the opportunity for a sense of connectedness and belonging to develop among festivalgoers.
Doctor of Philosophy (PhD)

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Da, Silva Daniel. « Trans Tessituras : Confounding, Unbearable, and Black Transgender Voices in Luso-Afro-Brazilian Popular Music ». Thesis, 2019. https://doi.org/10.7916/d8-xkxt-eg63.

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This dissertation shows how gay, trans and queer performers in Brazil, Portugal, and Angola, working in traditionally misogynistic, homo- and transphobic popular music genres, have successfully claimed and refigured those genres and repertoires through iterations of transgender voices and bodies. I show how Pabllo Vittar, Fado Bicha and Titica refigure normative gendered conventions of sex and song through trans formations of popular music genres. I locate them within a genealogy of queer Luso-Afro-Brazilian popular music practices and performances that deploy trans formations of voice, body, and repertoire. I trace a genealogy of transgender voice in Brazilian popular music to Ney Matogrosso’s 1975 debut release, through which I reveal a cacophony of queer, indigenous and Afro-Brazilian intersections; and in Portuguese popular music to António Variações 1982 debut, through whom I trace a fado genealogy of Afro-diasporic cultural practices, gender transgression and sexual deviance. Finally, I locate Titica’s music in practices of the black queer diaspora as a refiguring of Angolan postcolonial aesthetics. Together, these artists and their music offer a queer Luso-Afro-Brazilian diaspora in spectacular popular music formations that transit beside and beyond the Portuguese-speaking world, unbound by it, and refiguring hegemonic Luso-Afro-Brazilian discourses of gender, sexuality, race and nation.

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45

Mudzanire, Benjamin. « An interrogation of the context referentiality of postcolonial Shona popular music in Zimbabwe : a search for the contemporary leitmotifs ». Thesis, 2016. http://hdl.handle.net/10500/22600.

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The study interrogates the context reflectivity of postcolonial Shona popular music in Zimbabwe. It also explores the extent to which the legal environment in which the same music is produced, disseminated and consumed affects expressivity and artistic precision. The study is inspired by the New Historicism theory which assumes that every work of art is a product of the historical moment that created it and can be identified with the cultural and political movements of the time. The same is believed of popular music. The study is also beholden to the Marxist literary tradition for its assessment of the discourse of politics and socio-economic issues in popular music. For all the analysis, an Afrocentric eye view informs the thesis. Being qualitative in perspective, the research mainly uses the hermeneutic research design as an operational framework for the interpretation of lyrical data. Hermeneutics, as a method of textual analysis, emphasizes the socio-cultural and historic influences on qualitative interpretation. Postcolonial Shona popular music is purposively sampled and critically studied using the hermeneutic method to tease out latent social and political nuances in lyrical data. Interviews are roped in as alternative opinions to validate hermeneutic data. The research observes that the legislative environment in which Zimbabwean popular music is composed is, on paper, very conducive for the art but in practice severely restrictive. The constitution allows the artiste sufficient space to sing any subject but confessions by some critics alert on the incidences of some censored products. Even against that backdrop artistes have gone on to compose politically suggestive music. However, from the first decade of independence, the tendency for the artiste has been to flow with the meta-narrative or hegemonic discourses of the state, while in the later decades the artiste sounds critical of the nationalist government. Realising the power of music to articulate serious national issues; among other prescriptions, the study recommends that government creates a flexible and democratic legislation that allows for unbounded creativity and consumption of artistic products.
African Languages
D. Litt. et Phil. (African Languages)

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46

Baldridge, Christopher M. « Modern music and cultural identity in Corsica ». Thesis, 2004. http://hdl.handle.net/1957/32137.

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Music is one of the most important aspects of cultural identity in Corsica. Rooted in ancient history and revitalized in the revolutionary political climate of the 1960s and 70s, its popular choral form--the paghjella--has come to define modern music upon the island. Music, like language, has the ability to communicate certain feelings and values beyond its structural form and can also serve as a marker for individual as well as collective identity. In a minority regional context such as that of Corsica, many view cultural expressions such as language and music as 'guardians' of a local tradition that is weakened in a globalizing world. Thus, according to them, these expressions should remain pure and 'faithful' to their heritage. Yet, and likely in part because of globalization, music in Corsica has largely changed in recent decades. Musicians there today are combining ancient and modern forms, adopting instruments and styles not native to the island, and, in some cases, rejecting altogether 'traditional' Corsican music. Yet many of these, in as much as they represent a growing norm, often come under close scrutiny by those who regard their music as either inauthentic or betraying of tradition. Although some balance or hybridity of both 'new' and 'old' appears to be the preferred form of modem musical expression, the very notions of traditional and non-traditional are still debated and are at present widely discussed in Corsica, in a larger, more general sense of identity. The island's music provides a valuable perspective of the ongoing processes of cultural awareness and change.
Graduation date: 2004

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47

Strong, Catherine Louise. « 'As a friend, as a trend, as an old memory' : popular music, memory and power ». Phd thesis, 2008. http://hdl.handle.net/1885/151742.

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This thesis examines the relationship between memory and popular music. In order to make a claim for the validity of the field, popular music studies have often focused on the political and oppositional qualities of such music. It is argued in the thesis that although a form of popular culture such as grunge presents challenges to existing power relations, these challenges are often defused in the way grunge is remembered by the majority of fans. This is demonstrated through the examination of how collective memories are formed through the media, especially in dispersed groups, in contemporary societies. The formation of memory in this manner does not necessarily allow the media to control these memories or impose meaning, as memories are used to support and construct present identities. As a result, different groups may have different requirements of the past. The concept of memory is examined using the grunge musical 'movement' which was popular during the early 1990s. While exploring the sociology of memory, this thesis therefore also contributes to popular music studies, as few studies have investigated grunge in depth, or examined popular music retrospectively. The thesis uses interviews with grunge fans and content analysis of media articles about grunge as materials to explore the way popular culture is remembered. The main concepts used are collective memory, as theorised by Halbwachs and others, and Bourdieu's ideas of power, tastes and cultural fields. The thesis will use this context to demonstrate how gender roles can be reinscribed in retrospect, and how the life-stories of individuals can be used to reinforce prevailing myths and narratives within a society. It also suggests that class operates in a similar way through the influence that it has on tastes and lifestyles, as well as influencing what (and who) is remembered and the form that memory takes.

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« The karaoke boxes and youth in Hong Kong (1997-2007) ». 2011. http://library.cuhk.edu.hk/record=b5894699.

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Tang, Cheuk Pan.
"December 2010."
Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 95-101).
Abstracts in English and Chinese; some appendixes includes Chinese.
Abstract --- p.i
Abstract (Chinese Translation) --- p.ii
Acknowledgements --- p.iii
Contents --- p.iv
Chapter Chapter One --- Introduction --- p.1
Chapter 1 --- Background and Issues --- p.1
Chapter 1.1 --- Karaoke-A Big Business
Chapter 1.2 --- Karaoke's Significance within the Community
Chapter 2 --- Literature Review --- p.6
Chapter 2.1 --- Medium of Karaoke
Chapter 2.1.1 --- MV
Chapter 2.1.2 --- Karaoke
Chapter 2.2 --- "Identities, Mass Society Theory and Mass Culture Theory"
Chapter 3 --- Methodology and Approach --- p.19
Chapter 3.1 --- Research Questions and Analytical Framework
Chapter 3.2 --- Data Collection
Chapter 3.2.1 --- Participation Observation
Chapter 3.2.2 --- Individual Interviews and Group Discussion
Chapter 3.2.3 --- Other Findings - Questionnaires
Chapter 3.3 --- Limitations
Chapter 3.4 --- Translations
Chapter Chapter Two --- Cantopop and Karaoke Boxes in Hong Kong --- p.26
Chapter 1 --- An overview of Cantopop in Hong Kong before Karaoke --- p.27
Chapter 1.1 --- Change of Population of Hong Kong 1940s to 1970s
Chapter 1.2 --- Music of Hong Kong before 1970s
Chapter 1.3 --- Germination of Cantopop - 1970s
Chapter 1.4 --- Cantopop and Hong Kong 1980s
Chapter 1.5 --- "Cantopop and Hong Kong 1990s - 2000s, a Different Music Scene"
Chapter 2 --- A Historical Review of Karaoke Boxes Businesses in Hong Kong of the 1990s - 2000s --- p.38
Chapter 2.1 --- Karaoke Boxes' Heyday and Exclusive Right Tryout
Chapter 2.2 --- Karaoke Boxes of the Big Two
Chapter 2.3 --- "Neway, California Red and K-net"
Chapter 3 --- Implication of the Development of Cantopop and Karaoke Box Businesses --- p.45
Chapter 4 --- Karaoke Boxes - A Reflection of Consumption Culture of Hong Kong --- p.46
Chapter 4.1 --- Indoor Consumption Culture
Chapter 4.2 --- Standardization and Personalization
Chapter 4.3 --- Fast Food Culture
Chapter 4.4 --- From Businessmen to Consumer
Chapter Chapter Three --- Overwhelming of the Karaoke Boxes Chains in Hong Kong --- p.51
Chapter 1 --- A common Term: K-Song --- p.54
Chapter 2 --- Interviews and Discussions of K-Song --- p.58
Chapter 2.1 --- Individuals
Chapter 2.2 --- Group Discussions
Chapter 3 --- The implication of the Term K-Song --- p.61
Chapter 3.1 --- """I am not one of them"" - As a Tool for Construction of Identity"
Chapter Chapter Four --- The Karaoke's Goers in Hong Kong --- p.66
Chapter 1 --- Emotional Satisfaction of a Performer in a Karaoke Room --- p.66
Chapter 1.1 --- Lyrics and Role Play
Chapter 1.2 --- Desire to Perform
Chapter 2 --- Audience in Karaoke --- p.73
Chapter 2.1 --- A Desirable Place for Social Gathering
Chapter 2.2 --- Certainties in Karaoke Boxes as a Social Activity
Chapter 2.3 --- Bonding between Participants in the Karaoke Room
Chapter 3 --- Why Karaoke? Intention and Behavior in Karaoke Room --- p.77
Chapter 3.1 --- Results from Interviews and Questionnaires
Chapter 3.2 --- Interpretation of Results from Participant Observation: Affect and Cognition of Customers towards Karaoke Boxes 4 The Goer's Goal --- p.80
Chapter Chapter Five --- Conclusion --- p.84
Chapter Appendix I --- Questions Used in Interviews and Discussions --- p.88
Chapter Appendix II --- Questionnaires Used --- p.89
Chapter Appendix III --- Summary of Questionnaire Results --- p.91
Chapter Appendix IV --- Phonetic Transcriptions & English Translations of Chinese Terms --- p.93
Bibliography --- p.95

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Hodges, Benjamin Kidder 1977. « Special affect : special effects, sensation, and pop in post-socialist Bulgaria ». 2006. http://hdl.handle.net/2152/13002.

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Khan, Khatija Bibi. « Post 9/11 constructions of Muslim identities in American black popular music ». Thesis, 2010. http://hdl.handle.net/10500/3606.

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The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS-One have been influenced by Islam’s religious versions of the Nation of Islam, Five Percenters or Nation of Gods and Earths and Sunny Islam. Individual singers also manipulated the spiritual symbols and cultural resources made available to them in the Islam religion. Black African American singers more or less share common historical experiences, but they constructed and depicted Muslim identities differently because of their class, generational and gender backgrounds. Chapter one introduced the area of study, justified it and adopted an eclectic theoretical approach in order to account for the diverse constructions of Muslim identities in the songs composed by black African American hip hop singers. Chapter two provided an extended review of literature for the study. Chapter three explored the influence of the Nation of Islam on the singers and its creative manipulation by the black singers. Chapter four explored religious hybridity because the lyrics draw from Islam and Christian eschatological values. Chapter five used lyrics by three black female singers and revealed how they reconfigured differently, Black Muslim identities in a musical industry predominantly patronised by male singers. Chapter six explored the use of language in signifying different meanings of Muslim-ness in order to arrive at different definitions of pan Black Islamic musical consciousness. Chapter seven concluded the study by summarising the central argument of the study which was that black African American singers have referenced cultural symbols from Islam and in the process manipulated Islam’s religious metaphors to suggest different and alternative models for the black communities in the United States of America.
English Studies
D. Litt. et Phil.

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