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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.
Pełny tekst źródłaWong, Chi-chung Elvin, i 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.
Pełny tekst źródłaPolychronakis, 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.
Pełny tekst źródłaStraw, 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.
Pełny tekst źródłaMoore, 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.
Pełny tekst źródłaSympathetic 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.
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.
Pełny tekst źródłaWong, Chi-chung Elvin, i 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.
Pełny tekst źródłaJeppie, 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.
Pełny tekst źródłaCHINCOLI, 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.
Pełny tekst źródłaExamining 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'
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.
Pełny tekst źródłaDemeuldre, 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.
Pełny tekst źródłaVan, 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.
Pełny tekst źródłaENGLISH 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.
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.
Pełny tekst źródłaBall, 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.
Pełny tekst źródłaCummings, Joanne. "Sold out ! : an ethnographic study of Australian indie music festivals". Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.
Pełny tekst źródłaMontano, 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.
Pełny tekst źródłaBibliography: 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
Li, Cheuk-yin, i 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.
Pełny tekst źródłaJohnson, Alfred B. "Fascination machine : a study of pop music, mass mediation, and cultural iconography". Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.
Pełny tekst źródłaBallico, 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.
Pełny tekst źródłaCannon, Bryan. "Notes, Phrases, and Clauses: An Examination of Identity in Music Focused Conversation". TopSCHOLAR®, 2013. http://digitalcommons.wku.edu/theses/1269.
Pełny tekst źródłaHopkins, Susan. "Pop heroines and female icons : youthful femininity and popular culture". Thesis, Queensland University of Technology, 1999.
Znajdź pełny tekst źródłaCampbell, 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.
Pełny tekst źródłaLively, Beth. "Mediated depictions of child physical abuse : a narrative analysis". Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864925.
Pełny tekst źródłaDepartment of Speech Communication
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.
Pełny tekst źródłaDissertação (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
Mangin, Timothy. "Mbalax: Cosmopolitanism in Senegalese Urban Popular Music". Thesis, 2013. https://doi.org/10.7916/D85X2H4N.
Pełny tekst źródłaHiggins, Nicholas Andreas. "Confusion in the Karnatic Capital: Fusion in Chennai, India". Thesis, 2013. https://doi.org/10.7916/D8B56RXB.
Pełny tekst źródłaCalle, Simón. "Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect". Thesis, 2012. https://doi.org/10.7916/D893117S.
Pełny tekst źródłaBarr, Adrian B. "The transcendent experience in experimental popular music performance". Thesis, 2012. http://handle.uws.edu.au:8081/1959.7/538215.
Pełny tekst źródłaGarland, 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.
Pełny tekst źródłaKarl, Brian. "Across a Divide: Mediations of Popular Music in Contemporary Morocco and Spain". Thesis, 2012. https://doi.org/10.7916/D8F769MJ.
Pełny tekst źródłaRobertson, Mary. "Claiming sounds, constructing selves : the racial and social imaginaries of South African popular music". Thesis, 2005. http://hdl.handle.net/10413/5112.
Pełny tekst źródłaThesis (M.A.)-University of KwaZulu-Natal, Durban, 2005.
Belkind, Nili. "Music in Conflict: Palestine, Israel and the Politics of Aesthetic Production". Thesis, 2014. https://doi.org/10.7916/D8QN64WP.
Pełny tekst źródłaGonzalez, Melissa. ""Cien por Ciento Nacional!" Panamanian Música Típica and the Quest for National and Territorial Sovereignty". Thesis, 2015. https://doi.org/10.7916/D8319TTD.
Pełny tekst źródłaScales, Christopher Alton. "First Nations popular music in Canada : identity, politics and musical meaning". Thesis, 1996. http://hdl.handle.net/2429/4433.
Pełny tekst źródła"Rock music and hegemony in China". Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5887223.
Pełny tekst źródłaThesis (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
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.
Pełny tekst źródłaKvetko, Peter James. "Indipop producing global sounds and local meanings in Bombay /". Thesis, 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1761/kvetkop43407.pdf.
Pełny tekst źródłaMillington, 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.
Pełny tekst źródłaThesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008
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.
Pełny tekst źródłahttp://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
Khotso, P. "Masculinity as a popular theme in the development of Basotho accordion music". Thesis, 2017. http://hdl.handle.net/10500/24534.
Pełny tekst źródłaThis 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)
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.
Pełny tekst źródłaSmurthwaite, Michael. "Two commercial music radio stations and their use of Twitter". Thesis, 2016. http://hdl.handle.net/10539/21993.
Pełny tekst źródłaThis 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
Cummings, Joanne, University of Western Sydney, College of Arts i School of Social Sciences. "Sold out ! : an ethnographic study of Australian indie music festivals". 2007. http://handle.uws.edu.au:8081/1959.7/35961.
Pełny tekst źródłaDoctor of Philosophy (PhD)
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.
Pełny tekst źródłaMudzanire, 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.
Pełny tekst źródłaAfrican Languages
D. Litt. et Phil. (African Languages)
Baldridge, Christopher M. "Modern music and cultural identity in Corsica". Thesis, 2004. http://hdl.handle.net/1957/32137.
Pełny tekst źródłaGraduation date: 2004
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.
Pełny tekst źródła"The karaoke boxes and youth in Hong Kong (1997-2007)". 2011. http://library.cuhk.edu.hk/record=b5894699.
Pełny tekst źródła"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
Hodges, Benjamin Kidder 1977. "Special affect : special effects, sensation, and pop in post-socialist Bulgaria". 2006. http://hdl.handle.net/2152/13002.
Pełny tekst źródłaKhan, Khatija Bibi. "Post 9/11 constructions of Muslim identities in American black popular music". Thesis, 2010. http://hdl.handle.net/10500/3606.
Pełny tekst źródłaEnglish Studies
D. Litt. et Phil.