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Kavanaugh, Philip R. "Solidarity and drug use in the electronic dance music scene." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file 0.39 Mb., 70 p, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:1435827.
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McIver, Sharon. "WaveShapeConversion : the land as reverent in the dance culture and music of Aotearoa : a thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Cultural Studies in the University of Canterbury /." Thesis, University of Canterbury. Culture, Literature and Society, 2007. http://hdl.handle.net/10092/1635.
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This thesis is the result of more than ten years involvement with outdoor dance events
in Aotearoa, with a specific focus on Te Wai Pounamu (South Island) and Otautahi
(Christchurch). Two symbiotic themes are explored here – that of the significance of the
landscape in inspiring a conversion to tribal-based spirituality at the events, and the role
of the music in ‘painting’ a picture of Aotearoa in sound, with an emphasis on those
musicians heard in the outdoor dance zones. With no major publications or studies
specific to Aotearoa to reference, a framework based on global post-rave culture has been
included in each chapter so that similarities and differences to Aotearoa dance culture
may be established. Using theoretical frameworks that include Hakim Bey’s TAZ
(Temporary Autonomous Zone), the carnivalesque, and tribalism, the overriding theme to
emerge is that of utopia, a concept that in Aotearoa is also central to the Pākehā
mythology that often stands in for a hidden violent colonial history, of which te Tiriti o
Waitangi (the Treaty of Waitangi) has been a source of division since it was signed in
1840. Thus, in the Introduction several well-known local songs have been discussed in
relation to both the Pākehā mythology and the history of te Tiriti in order to contextualise
the discussion of the importance of Māori and Pākehā integration in the dance zones in
the following chapters.
The thesis comprises of two main themes: the events and the music. At the events I
took a participatory-observer approach that included working as rubbish crew, which
provided a wealth of information about the waste created by the organisers and vendors,
and the packaging brought in by the dancers. Thus the utopian visions that were felt on
the dancefloor are balanced with descriptions of the dystopian reality that when the
dancers and volunteers go home, becomes the responsibility of a strong core of
‘afterparty’ crew.
Musically, the development of a local electronic sound that is influenced by the
environmental soundscape, along with the emergence of a live roots reggae scene that
promotes both positivity and political engagement, has aided spiritual conversion in the
dance zones. Whereas electronic acts and DJ’s were the norm at the Gathering a decade
ago, in 2008 the stages at dance events are a mixture of electronic and live acts, along
with DJ’s, and most of the performers are local. Influenced by a strong reggae movement
in Aotearoa, along with Jamaican/UK dance styles such as dub and drum and bass, local
‘roots’ musicians are weaving a new philosophy that is based on ancient tribal practices,
environmentalism and the aroha (love) principles of outdoor dance culture. The sound of
the landscape is in the music, whilst the vocals outline new utopian visions for Aotearoa
that acknowledge the many cultures that make up this land. Thus, in Aotearoa dance
music lies the kernel of hope that Aotearoa dance culture may yet evolve to fulfil its
potential.
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Thornton, Sarah. "Record hops to raves : authenticity and subcultural capital in music and media cultures." Thesis, University of Strathclyde, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261836.
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Colombo, Ambrose. "From Disco to Electronic Music: Following the Evolution of Dance Culture Through Music Genres, Venues, Laws, and Drugs." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/83.
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Electronic dance music is a genre that has been long in the making. Starting with disco in the 1970s, dance culture genres evolved into house, acid house, techno, garage, 2-step, hardcore, gabba, san frandisco, electro, and many others. This paper studies the transformation of electronic sound, and the contributing/impeding factors involved. Drug use is heavily related to the creation and enjoyment of music, and features prominently in the history of dance culture. Starting with the use of acid in the 1960s and progressing to the use of acid, Quaaludes, poppers, speed in the 1970s, with MDA featured in clubs toward the end of the decade. The 1980s began the recreational use of MDMA, but not until the late 80s in UK acid parties did it become known as the party drug that it is known as today. MDMA use then spread rampantly throughout the US as the UK culture was exported and emulated. UK acid parties were the precursor to raves, which were illegal, and the backlash from the law was incredible and organized. Slowly licensing laws became more relaxed, and permits became easier to obtain, making future raves more legal, but according to ravers, less fun, ending at 2am instead of 8am, and forcing the drugs scene underground, rather than having them openly solicited. Organized crime in the UK got much worse as gangs realized the potential profits of selling drugs, and the scene forever changed because of this in the early 90s. The raves of the early 90s in New York, the Midwest, and San Francisco, were paradise in comparison. San Francisco enjoyed the most freedom, and beach raves became common. The electronic dance culture found a home in large festivals, and perhaps because of this the future of electronic music remains uncertain, especially with the casualties that have recently happened relating to ecstasy use, and complications in organizing such massive events.
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Halstead, Simon. "After Techno and Rave : Status and Validity in Post-Dance Music." Thesis, University of Surrey, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518691.
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Lau, Gar-lum, and 劉嘉琳. "The social construction of rave culture in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2004. http://hub.hku.hk/bib/B31228288.
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Heller, David Francis. "Pass The Flow: The Subcultural Practice of Liquid Dance." Diss., Temple University Libraries, 2018. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/539612.
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DancePh.D.
This dissertation explores how the subcultural practice of liquid dance emerged from US rave culture and continues to sustain itself and evolve in today’s era of social media and EDM festival culture. I draw upon the concept of flow as a lens to trace the historical, aesthetic, digital, social and subcultural trajectory of liquid dance. I analyze how this subculture continues to evolve through individual practice, as well as how dance is shared through online and live dance exchange. My dissertation consists of seven chapters that provide both academic and practitioner perspectives of liquid dance. My research methods combine a multidisciplinary approach to implementing semi-structured interviews, participant observation, and digital archival research. My fieldwork consists of interviewing fourteen liquid practitioners, as well as conducting ethnographic research at an EDM festival where liquid dancers annually attend and participate. The purpose of this project is twofold. One, to contribute new knowledge to the field of dance studies on the specific dance genre of liquid, which up until now has not been documented in this field. Two, to provide a space for practitioners to openly share their perspectives in a collaborative effort to produce new knowledge. From the beginning, it has been my intention to produce a dissertation that provides the foundation for a continuing series of academic discussions from which to draw upon for further, future research and critical engagement with liquid dance. This document may also be used as a template for scholars across disciplines to deploy as a lens to analyze and critique other subcultural dance practices within the continuum of rave, club and dance music festivals.
Temple University--Theses
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Takahashi, Melanie L. "Theatre in search of a storyline: The role of the "technoshaman" in rave culture." Thesis, University of Ottawa (Canada), 2004. http://hdl.handle.net/10393/29176.
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Since its emergence in the late 1980s, the subculture referred to as "rave" has become a significant global youth phenomenon. At the heart of every event one encounters the DJ, the individual accountable for the success or failure of the rave. The DJ is responsible for taking the dancers on a "journey" so that they may experience the feelings of connectedness, spirituality, and a state of what participants refer to as "ecstasy." Given this role, some have labelled the DJ a "technoshaman." Using the survey and interview method, participant observation and the existing literature on raves, this dissertation investigates the precise functions of the DJ as a "technoshaman." Gilbert Rouget's conceptualization of trance and how it is managed in the ritual context, and his framework for the study of possession trance ritual provides the theoretical foundations for this research. The DJ is found to be an expert in knowing how music works and through an analysis of the techniques employed to initiate altered mind states, and his relationship with rave participants, it is suggested that the role of the DJ can be more appropriately compared to the role of instrumentalists in possession trance ritual. The quasi-scripted nature of the rave experience and its parallel to ceremonial possession is also evinced through an exploration of rawer psychoactive substance use, driving mechanisms into altered states of consciousness, and the role of participant learning and adeptness. In applying Laughlin's hermeneutic model of the "cycle of meaning" to rave events, it is found that the role of the "shaman" is performed by the participants themselves rather than the DJ. Despite processes that are focussed on the tasks of minimizing physiological harms and bodily discomfort, and maximizing well being, pleasurable memories and a sense of community, it is suggested that the "storyline" underpinning rave culture, lacking any formal or stable content, remains to be told. In contrast to possession ritual where the storyline binds the dancer to the god or goddess, and what is gained by the dancer is a complex identity, power, moral rules, responsibilities and expectations, participation in a rave stops at the personal and interpersonal level of experiences. It is suggested that it is ultimately up to each individual rawer to direct the course of his own path and experience.
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Ortiz, Colleen Lenore. "Rave to redoblada: the role of modernization and tourism in the traditional music and dance of Ibiza." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12551.
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Thesis (M.A.)--Boston University
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.Ibiza, a small Spanish island in the Mediterranean, embodies the tensions between modem and traditional identities. The development of tourist industries in Ibiza has had a significant impact on traditional music and dance genres. Based on my fieldwork during the summer of 2011, I examine issues of modernization, folklorization, cultural tourism, authenticity, and gender in two genres of rural music: ball pages, a traditional rural courtship dance, and redoblada, a vocal genre unique to the Pitiuses (lbiza and Formentera). I will examine how each genre responded to social changes that resulted from modernization and the development of tourism on the island. In the early twentieth century, there was a decline in the transmission of traditional music and dance due to the Spanish Civil War, political repression, and modernization. The development of tourism led to the rejuvenation of some genres of traditional music and dance, but also fundamentally changed them. Having undergone a process of folklorization during its transformation into a tourist event, ball pages has become a medium for the construction of authenticity and the preservation of traditional gender roles. In contrast, other genres, such as redoblada, have been unsuccessful in adapting to the new social context and performance opportunities in Ibiza.
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Luckman, Susan Heather. "Party people : mapping contemporary dance music cultures in Australia /." [St. Lucia, Qld.], 2002. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe16686.pdf.
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White, Bob Whitman. "Modernity's spiral : popular culture, mastery, and the politics of dance music in Congo-Kinshasa." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0020/NQ44627.pdf.
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Webb, Brock F. "This side of midnight: Recovering a queer politics of disco club culture." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1363615857.
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Hinchliff, Sharron. "Phenomenology and the dance culture : women's perceptions of ecstasy use, clubbing and the body." Thesis, Sheffield Hallam University, 2001. http://shura.shu.ac.uk/20721/.
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In-depth interviews were conducted with women who use ecstasy for recreation, mainly in the context of the dance event. The aim was to discover the meaning of ecstasy use, and its surrounding culture, for women in the late 1990s. A further endeavour involved disclosing how the body was experienced at the dance event and what this meant to the women. Existential phenomenological analysis led to the following key conclusions. The dance event is experienced as a social space that allows women to be themselves and find a strong sense of belonging. There may be apparent dependence upon the experiences surrounding ecstasy. But, the journey of ecstasy use allows alterations in attitude, and transitions in life, to be experienced, which the women view positively. The women use ecstasy for pleasure, believe themselves to be independent in their use, and do not view their actions as deviant. These findings are important to scholarly literature on female drug users because they redress the gender balance by presenting the specific experiences of women. They also have implications for social policy and health service provision, in the sense that this description of a social world enables understanding, enhances communication and, thus, betters education.
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Dinerstein, Joel Norman. "Swinging the machine : White technology and Black culture between the World Wars /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Forsyth, Alasdair John MacGregor. "A quantitative exploration of dance drug use the new pattern of drug use of the 1990s /." Thesis, Connect to electronic version, 1997. http://hdl.handle.net/1905/184.
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Plouchard, Nathalie. "En "Rave" et contre tout ? Dimensions festives et oppositionnelles du monde des free parties." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0059.
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Au carrefour de la sociologie de la culture et de la sociologie de la déviance, ce travail porte sur les dimensions festives et oppositionnelles du monde des free parties, qui s’articule autour de manifestations techno clandestines et marginales. A partir d’une enquête ethnographique, il s’agit d’examiner une pratique culturelle et musicale mais aussi de saisir la variété des expressions oppositionnelles que les jeunes engagés dans ce monde y déploient. A la suite d’un travail de clarification théorique, cette recherche s’inspire de la notion de contre-culture, dans laquelle l’idée de conflictualité est centrale. Cet outil conceptuel permet d’explorer diverses facettes de l’univers free, controversé et encore largement méconnu, et notamment sa composante « contre ». On peut ainsi montrer que, si le monde free est loin d’être réductible à ses dimensions oppositionnelles, celles-ci peuvent donner un relief particulier à la fête – et réciproquement. La pertinence du croisement entre l’objet « free parties » et l’outil conceptuel « contre-cultures » est due en partie à la double déviance, sociale et légale, qui caractérise les fêtes techno étudiées. Les différents aspects oppositionnels mis en évidence dans ce monde juvénile, ainsi que la distinction entre non-conformité et contestation qui en émane, permettent d’analyser le rapport entre déviance, illégalité, conflictualité/illégalité à la lumière du cas des free partiesAt the crossroads of the sociology of culture and the sociology of deviance, this work focuses on the festive and oppositional dimensions of the free party world, which revolves around clandestine and marginal techno events. Based on an ethnographic research, this study aims to examine a cultural and musical practice but also to grasp the various oppositional expressions unfolding within this youth culture. After providing a theoretical clarification, I draw on the notion of counterculture, in which the idea of conflict is central. This conceptual tool enables me to explore various facets of the free party universe, controversial and still largely misunderstood, and in particular its antagonistic elements. Thus I show that, while the free party world does not amount to its oppositional dimensions, the latter can enhance the festive experience – and vice versa. The double deviance – both social and legal – characteristic of the studied techno parties makes it all the more relevant to bring together this object of study and the concept of counterculture. The various oppositional aspects of this youth culture I highlight, as well as the resulting distinction between nonconformity and contention, enable me to analyze the relationship between deviance, illegality, and conflict/counterculture in the light of the case of free parties
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Kavka, Daniel Robert. "Young Americans to Emotional Rescue: Selected Meetings Between Disco and Rock, 1975-1980." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277322797.
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Humphrey, Ashley Renee. "Where's the Roda?: Understanding Capoeira Culture in an American Context." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1543574890650575.
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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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Kemper, Christian. "Mapping techno : jugendliche Mentalitäten der 90er /." Frankfurt am Main [u.a.] : Lang, 2004. http://www.gbv.de/dms/ilmenau/toc/380098598kempe.PDF.
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Gabrielsson, Daniel. "”Forget your sickness and dance” : En etnologisk studie om mötet med den medicinska föreställningsvärlden och musikens roll i en läkande process." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-104414.
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“Dance and forget your sickness” - An ethnological study of the interaction between patients and the medical conceptual world, and the role of music in a healing process. This study is based on interviews with four people. It describes their experiences with the health care system and the role of music in their lives. What these people have in common is that their illnesses are not verifiable from a normal medical perspective. The overall purpose is to describe this interaction with medical care and discuss what role music might have in the mitigation of the perceived illness. The patient-healthcare interaction is analysed from a theoretical discourse perspective. The analysis reveals some of the mechanisms in the medical establishment’s discourse that reinforce its own conclusions by simplifying what is actually quite complex; the inner world of the patient. Considering the powerful position medical science has taken in our modern world it is relevant for medicine to be able to respond to and manage health problems arising in complex personal processes, or what can be described as existential illness. This study describes how the current healthcare establishment has come to focus unilaterally on physical health, supplanting the existential dimension of health that it cannot respond to. The results of this study showed that all people experienced that (current established) healthcare alone could not cure their illness in a satisfactory manner. The study also showed that music played a major role in the relief of specific symptoms. Music also helped patients find meaning, despite their illness, as part of a greater cultural and social world.daniel@varia.nu
070-2884547
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Araújo, Adriana Dias Gomide 1974. "Apropriações de sentidos de um grupo cultural de cantigas de roda." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253953.
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Orientador: Olga Rodrigues de Moraes von SimsonTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
Made available in DSpace on 2018-08-25T10:51:02Z (GMT). No. of bitstreams: 1 Araujo_AdrianaDiasGomide_D.pdf: 2983364 bytes, checksum: ee2833247e1f768924a950606bb39f02 (MD5) Previous issue date: 2014
Resumo: A pesquisa reconstrói a história do Grupo Cultural Meninas de Sinhá formado, majoritariamente, por mulheres negras, da terceira idade, moradoras de uma favela da cidade de Belo Horizonte, que conquistaram reconhecimento com a prática de difusão das cantigas de roda. A reconstrução da trajetória de desenvolvimento do grupo teve como principal suporte metodológico a história oral e o diálogo com outras pesquisas. As mudanças ocorridas a partir da vivência de uma prática mais ritualística para uma prática burilada pela produção cultural ampliaram o reconhecimento do grupo. Portanto, a análise da prática é realizada pelos seus elementos constitutivos: o mito fundador, a ciranda, a dança, a música e a produção cultural
Abstract: This research reconstructs the story of the cultural group Meninas de Sinhá, which is mainly formed by middle-aged black women who live in a slum in Belo Horizonte and gained recognition through the performance of circle songs. The reconstruction of the group¿s trajectory had oral history and dialogue with other research reports as its methodological support. The changes which occurred from a more ritualistic approach to a practice guided by cultural production increased the group recognition. Therefore, the analysis of the practice is made from its constituent elements: the foundation myth, the ciranda, dance, music and cultural production
Doutorado
Ciencias Sociais na Educação
Doutora em Educação
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Moonga, Nsamu Urgent. "Exploring music therapy in the life of the batonga of Mazabuka Southern Zambia." Diss., University of Pretoria, 2019. http://hdl.handle.net/2263/76730.
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The use of music for healing is ubiquitous in every human community. Music Therapy, however, as the clinical and evidence-based use of music interventions to accomplish individualized goals within a therapeutic relationship by a credentialed professional, may not share the same pervasive prevalence in human society. This study explored how a culturally-sensitive music therapy process may be designed among baTonga of Mazabuka, particularly in relation to the participants’ existing understandings of masabe (musical healing ritual) Participants' perceptions of musical healing rituals of masabe were explored through focus groups, as well as, if the participants were amenable, to the use of musical healing rituals. We then designed a music therapy session together. The participants expressed delight at their involvement in the study as it communicated interest in their lives. The study affirmed their worldview and how that could be incorporated into wellness responses associated with their community. The study found that baTonga rely on musical healing rituals as they are aligned to their relational cosmology and accommodates their perceptions of wellbeing. BaTonga ritual music is rich in symbolism and imagery. Because buTonga personhood might be experienced at the intersection of the individual and the community, and at the intersection of the individual, the community and the natural environment, this study found that music therapy here would benefit from drawing on ecologically-informed community music therapy approaches. A music therapist’s role in buTonga may be seen similarly to how the role of a mun’ganga (an afflicted shamanic healer) is perceived in the community. The study argues that there is indeed a place for culture-centred, culturally sensitive and inclusive anti-oppressive music therapy among BuTonga. This research study contributes to the ongoing conversation about evolving meanings, theories, approaches and practices of music therapy.Dissertation (MMus)--University of Pretoria, 2019.
Music
MMus
Unrestricted
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Ruggiero, Diana Mabel. "Más allá del fútbol: La Bomba, the Afrochoteño Subaltern, and Cultural Change in Ecuador’s Chota-Mira Valley." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273711996.
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Middlebrooks, Justin M. Mr. "The Intersection Between Politics, Culture, and Spirituality: An Interdisciplinary Investigation of Performance Art Activism and Contemporary Societal Problems." Ohio University Honors Tutorial College / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1333397676.
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Alfonsi, Daniela do Amaral. "Para todos os gostos: um estudo sobre classificações, bailes e circuitos de produção do forró." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/8/8134/tde-08072008-141736/.
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Esta dissertação apresenta as controvérsias que envolvem músicos, produtores e públicos apreciadores no que diz respeito ao forró, seus bailes, danças e músicas. A partir das denominações que se atribuem aos estilos desse gênero musical (como forró eletrônico, pé-deserra e universitário), este trabalho visa a discorrer sobre os significados atribuídos a tais termos em diferentes contextos e por atores distintos na disputa pela definição e legitimação da maneira de se tocar o forró. Mais do que distinguir um tipo específico de fazer musical, essas classificações ajudam a configurar gostos, opiniões e a organizar os bailes de forró presentes na cidade de São Paulo, local privilegiado da pesquisa. Esses bailes ocorrem em vários bairros da metrópole e abrangem diferentes circuitos e classes sociais. As classificações dadas ao forró ajudam também a delimitar os significados dessas classes sociais em contextos distintos e relacionar o que se faz no Sudeste do País ao que é produzido no Nordeste, local tido como origem do gênero. Assim, tenta-se compreender como e por que se configura essa associação entre um gênero de música popular, uma forma de lazer e a hierarquização dos espaços onde ocorrem suas práticas, a partir do ponto de vista da distinção social. O principal objetivo da pesquisa, portanto, é compreender como se dá, a partir da confluência dos três elementos (música, dança e baile) e das distintas representações de sua origem, a produção social da diferença que separa músicos, públicos e demais apreciadores em espaços e circuitos diversos.This dissertation presents the controversies in which musicians, producers and publics are involved with in what concerns forró, its parties, dances and music. In view of the denominations given to the styles of forró as a musical genre (such as electronic forró, pé-deserra and universitário), this work aims at exposing the meanings comprised by those words in different contexts, by different actors in the dispute over the definition and authentication of how to play the forró. More than to distinguish a specific kind of music making, those assortments of forró help form tastes, opinions and organize forró parties in São Paulo, the site focused on on the research. The parties occur in several neighborhoods of the metropolis and embrace different social classes and circuits. The classifications attributed to the forró also help to delimit the meanings of these social classes in different contexts and connect what is made in the Southeast of the country to what is produced in the Northeast, place know as the point of origin of forró. Thus, this dissertation asks how and why there is, from the point of view of the social distinction, an association among a popular musical genre, a source of leisure and the hierarchy of the spaces where forró parties take place. The main objective of this research, therefore, is, from the confluence of these three elements (music, dance and party) and from the distinct representations of the forró\'s origin, understand how the social production of difference that separates musicians, producers, publics and any other appraisers in various places and social circuits is made.
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Liaukevičiūtė, Rasa. "Elektroninės šokių muzikos subkultūros ir žiniasklaidos komunikaciniai ypatumai: naujienų portalo Delfi.lt atvejis." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2010. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2010~D_20100615_153625-37420.
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Informacinė sklaida šiomis dienomis yra kaip niekad intensyvi ir įvairialypė. Komunikacinių kanalų gausa ir įvairovė sukuria galimybę aktyviai dalyvauti komunikaciniuose procesuose net pačioms mažiausioms ir uždariausioms visuomenės grupėms. Nuo to, kokiais visuomenės informavimo kanalais ir kokio pobūdžio informacija skelbiama apie tam tikrą grupę, gali priklausyti tiek jos visuomeninio įvaizdžio kaita, tiek tolimesnės raidos tendencijos. Elektroninės šokių muzikos subkultūra – viena iš įdomesnių sociokultūrinių grupių, kurios komunikacijos pobūdis su žiniasklaida ir yra šio darbo objektas. Darbe užsibrėžtas tikslas atskleisti žiniasklaidos ir elektroninės šokių muzikos subkultūros santykį, įvertinti šio santykio kiekybinius ir kokybinius pokyčius per dešimtmetį, išryškinti komunikacinius ypatumus bei išsiaiškinti komunikacijos privalumus ir trūkumus. Tyrimo hipotezės teigia, kad šiandien elektroninės šokių muzikos subkultūros ir žiniasklaidos bendradarbiavimas intensyvesnis nei prieš dešimtmetį, žiniasklaida subkultūrą reprezentuoja pozityviau, retesnis probleminis žinučių kontekstas. Užsibrėžtam tikslui pasiekti bei hipotezėms patikrinti išsikelti uždaviniai apžvelgti su subkultūra susijusius pranešimus naujienų portale Delfi.lt 2001m., 2002m. ir 2009m. spalio ir lapkričio mėnesiais bei naudojant interviu metodą apklausti ekspertus: elektroninės šokių muzikos subkultūros atstovus, žiniasklaidos priemonių redaktorius bei kultūros tyrimų specialistus. Teorinėje darbo dalyje... [toliau žr. visą tekstą]Information spread nowadays is more intensive and miscellaneous than ever. Plenty of various communication channels enable even the smallest and most reserved society groups to participate in communication processes actively. The choice of certain communication channels and information, that should be published, may influence the changes of the group‘s public image as well as further development of it. Electronic dance music subculture is one of the most interesting sociocultural groups, therefore its communication with mass media has been chosen as the object of this paperwork. The goal of this paperwork is to reveal the relation between electronic dance music subculture and the media, to evaluate both quantitative and qualitative changes of this relation during the last decade, to highlight the most important features of the communication of this subculture, to find its main advantages and disadvantages. The hypothesis of the research suggests that the electronic dance music subculture is more visible in the media than it was a decade ago, that the problematic context of the messages is rarer, and the content of the messages is more positive and commercial. In order to achieve the chosen goal and to prove the hypothesis there were messages about the subculture, published in the news portal delfi.lt in October–November of 2001, 2002 and 2009, examined, and several experts – electronic dance music subculture members, media editors and culture researchers – interviewed. The... [to full text]
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Saint-Sardos, Diaz Flores Jeanne. "S’affronter pour mieux unir : danseurs et musiciens de trois danses d’Ayacucho (Pérou)." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040183/document.
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Dans la capitale péruvienne, trois danses continuent de rythmer la vie des Ayacuchanos émigrés bien que leurs contextes de performance aient subi des changements radicaux. Il s‟agit de danses de compétition réservées à des artistes spécialistes : la danse des ciseaux, celle des huaylías et celle des negritos de cinta. Dans les villages de la sierra, ces expressions représentent de véritables rituels qui s‟inscrivent au coeur des relations socioreligieuses de la communauté : elles les figurent mais participent aussi à leur renouvellement et à leur équilibre. Associée à celle qui en découle dans le domaine agricole, cette action contribue à unir la communauté et à assurer sa perpétuation tout en prenant en compte les changements et les évolutions. Ce rôle est appuyé par les modèles musico-chorégraphiques eux-mêmes puisqu‟ils laissent une grande marge de liberté et incitent à la variation et à la création. Les artistes, fins connaisseurs des usages sociaux, offrent ainsi un reflet de la société dans ce qu‟ils dansent et jouent. Le public, lui, gère la nouveauté à la fois pendant la performance mais aussi à travers les diverses mémoires qui se construisent autour des danses. De ce fait, le milieu de Lima apporte essentiellement l‟innovation et celui de la sierra la valide. Les trois danses agissent aussi dans ce sens sur le plan social : elles favorisent une certaine indépendance entre le milieu migrant et les villages tout en maintenant une unité communautaire en dehors d‟un territoire physique. Ainsi, malgré la migration, leur rôle n‟a pas vraiment changé mais s‟est juste adapté à la nouvelle situationIn the Peruvian capital, the Ayacuchano migrants‟ life is still governed by the rhythm of three dances even if their performances have undergone radical changes in their circumstances. They are competition dances restricted to specialist dancers, i.e. the scissors dance, the huaylías‟ dance and the dance of the negritos de cinta. In the sierra villages, these expressions represent genuine rituals which lie deep within the community‟s socio-religious relationships: they are their symbols but they also participate in renewing and ensuring their equilibrium. Being combined with following actions at an agricultural level, this activity contributes to uniting the community and securing its perpetuation while taking into account changes and evolutions. This role is backed up by musical-choreographic patterns since these patterns leave significant room for interpretation and encourage variations and creation. Thus the artists who are real connoisseurs of social practices present a reflection of society in what they dance or perform. As for audiences, they control the latest elements both during the performance and within the different memories built around dances. In fact the Lima milieu essentially provides innovation and the sierra environment ratifies it. The three dances also have a similar influence at a social level: they favour some independence between the migrant environment and the villages while preserving a unity of the community outside a physical territory. Consequently in spite of migration, their role has not really changed; it has simply adapted itself to the new situation
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Rodrigues, Vanúzia Almeida. "Música popular e dança de salão: o maxixe nos jornais norte-americanos do início do século XX." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8138/tde-27032018-171249/.
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Este trabalho trata da circulação de notícias do maxixe brasileiro nos jornais estadunidenses no começo do século XX. Os periódicos colhidos no repositório Newspaperarchive foram sistematizados nos moldes de um corpus documental. Este foi o principal objetivo do trabalho ora apresentado: produzir um instrumento de pesquisa através da construção de uma coletânea com todas as matérias a respeito do maxixe brasileiro, publicadas nos jornais dos Estados Unidos, na forma de anúncios, artigos, contos, notas, notícias e poemas, entre 1906 momento em que encontramos a primeira notícia focalizando o tema , e o final dos anos 1930, quando já vinha se desenvolvendo no Brasil uma música tipicamente nacional e os produtos da cultura brasileira já tinham circulado pelo mundo, especialmente Europa e Estados Unidos. No período estudado, música popular é música de divertimento, feita para dançar. Dançar nos salões do Brasil, nos dancings de Paris, nos ballrooms americanos, mais do que moda, era uma forma de participar da sociedade, de se inteirar das novidades, dos passos mais conhecidos, afinal a música popular e a dança coreográfica são expressões artísticas que transitam entre as diferentes classes sociais. O maxixe nasceu miscigenado, reflete a misturada de ritmos e gêneros, presentes no Brasil desde o século XVIII, como o batuque, o lundu (ambos de matriz africana). Mas, recebeu também forte influência de gêneros europeus como a modinha, e mais tarde da polca (século XIX) e do choro uma invenção brasileira. Como toda dança, causou escândalo quando surgiu, em virtude dos movimentos considerados ousados, extravagantes e lascivos. Pouco a pouco, os passos exibidos nos cabarés do Rio de Janeiro transformaram-se, adequando-se aos ambientes dignos da sociedade brasileira, e é assim que passam a ocupar os salões frequentados pelas classes mais abastadas. No eixo internacional, Paris foi a bússola que orientou e pautou os códigos de comportamento no mundo inteiro, principalmente durante a Belle Époque. As viagens de músicos, agentes, mecenas etc. e de objetos sonoros através do Atlântico são vistas pela perspectiva da transculturação. O contato entre grupos de culturas diferentes contribui para que os artistas e sua arte se transformem e isso ocorre independente do processo de dominação econômica, uma vez que todos passam por mudanças (dominados e dominantes). Por outro lado, o conceito de triangulação é apropriado para compreender o modo como circulam os objetos sonoros e dançantes, e proporciona o mapeamento dos lugares por onde transitaram tais objetos, colaborando para a percepção dos aspectos que estão em jogo na circulação deles. Nos Estados Unidos, as escolas, as universidades e a técnica, de um lado; e a família e os professores de dança, de outro, foram centrais ao processo de branqueamento que permitiu a aceitação do maxixe. Por outro lado, o teatro de caráter trovadoresco - onde se inclui o vaudeville e, mais tarde, os musicais no teatro e no cinema, colaboraram para que a música e a dança maxixe continuassem presentes naquele país, avançando além dos anos 1930. A difusão do maxixe obedeceu à lógica da indústria cultural, articulando-se aos mecanismos de reprodutibilidade próprios do mercado.This paper explores the circulation of Brazilian maxixe news in American newspapers at the beginning of the 20th century. The journals collected in the Newspaperarchive repository were systematized in the form of a documentary corpus. This was the main objective of the work presented here: to produce a research instrument through the construction of a collection of all the Brazilian maxixe materials, published in the United States newspapers, in the form of advertisements, articles, short stories, notes, news and poems, between 1906 - when we found the first news focusing on the theme - and the late 1930s, when Brazilian music was already developing in Brazil, and the products of Brazilian culture had already circulated throughout the world, especially in Europe and the United States. In the period studied, popular music is fun music, made for dancing. Dancing in the halls of Brazil, in the dancings of Paris, in the American ballrooms, more than fashion, was a way to participate in society, to find out about the news, the best known steps, after all, popular music and choreographic dance are artistic expressions which pass through the different social classes. Maxixe was born miscegenated, reflects the \"mixed\" rhythms and genres, present in Brazil since before the 18th century, such as the batuque, the lundu (both African matrix). But it was also strongly influenced by European genres such as modinha, and later by the polka (19th century) and choro - a Brazilian invention. Like all dance, it caused scandal when it arose, by virtue of the movements considered daring, extravagant and lascivious. Little by little, the steps displayed in the cabarets of Rio de Janeiro were transformed, adapting themselves to the \"dignified\" places of Brazilian society, and that is how they began to occupy the ballrooms frequented by the wealthiest classes. On the international axis, Paris was the compass that guided and led the codes of behavior throughout the world, especially during the Belle Époque. The trips of musicians, agents, patrons, etc. and sound objects across the Atlantic are seen from the perspective of transculturation. The contact between groups of different cultures contributes to the transformation of artists and their art, and this occurs independently of the process of economic domination, since all undergo changes (dominated and dominant). On the other hand, the concept of triangulation is appropriate to understand the way the sound and dance objects circulate, and it provides a mapping of the places through which these objects transited, collaborating to the perception of the aspects that are at play in their circulation. In the United States, schools, universities and technique, on the one hand; And family and dance teachers on the other, were central to the bleaching process that allowed the acceptance of the maxixe. On the other hand, theater like a vaudeville and, later, musicals in the theater and in the cinema, collaborated so that the music and the maxixe dance continued present in that country, advancing beyond the 1930s. Diffusion of the maxixe obeyed the logic of the cultural industry, articulating itself to the mechanisms of reproducibility proper to the market.
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Bagnole, Rihab Kassatly. "Imaging the Almeh: Transformation and Multiculturalization of the Eastern Dancer in Painting, Theatre, and Film, 1850-1950." Ohio : Ohio University, 2005. http://www.ohiolink.edu/etd/view.cgi?ohiou1132433330.
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Röthig, Sabine. "Windowlicker." Doctoral thesis, Humboldt-Universität zu Berlin, Kultur-, Sozial- und Bildungswissenschaftliche Fakultät, 2016. http://dx.doi.org/10.18452/17491.
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In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation im Musikvideo durch EDM herzuleiten. In Teil IV werden die Erkenntnisse anhand der Fallstudie, dem Musikvideo „Windowlicker“ von Aphex Twin (Musik) und Chris Cunningham (Regie) aus dem Jahr 1999 ausgewertet und angewendet. Die Arbeit möchte die Dimension der ästhetischen Studien um das Musikvideo erweitern und verdeutlichen, wie sich das Musikvideo auch unter veränderten klanglichen Bedingungen als unentbehrlicher Bestandteil der Aufführung von Popmusik in der Monitorkultur erweist und als künstlerisches Genre unbedingt ernst zu nehmen ist, da sich in ihm zeitgenössische Avantgarden abbilden können.This thesis explores the relationship between Electronic Dance Music (EDM) which originated in clubs, and the mass media consolidated music video. Focussing on how EDM influences the music video, an aesthetic paradigm shift on the latter is discussed. This change stemmed mainly from the structure of the instrumental, modular EDM track, which is significantly different from the structure of the song. Originally, the music video was intended as way of visualising the performance of the artist on the monitor; however, the advent of instrumental EDM tracks posed critical problems for this approach, and arguably renders it obsolete. New strategies of illustrations are required. Parts I and II of this thesis analyse music video and EDM through scientific discourses in an attempt to define their respective aesthetic attributes. In part III the relationship between tracks and images in club visuals is discussed in order to illustrate the singularity of this dialogue. In part IV, conclusions from the foregoing sections are evaluated and applied to a study of “Windowlicker” by British artist Aphex Twin, the video to which was directed by Chris Cunningham in 1999. The purpose of this thesis is to extend the aesthetic studies of the music video to clarify its status as an essential part of popular music in monitor culture. As an artistic genre it has to be taken seriously because it can display contemporary avant-gardes.
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Motl, Kaitlyne A. "“WELL, DON’T WALK AROUND NAKED... UNLESS YOU’RE A GIRL”: GENDER, SEXUALITY, AND RISK IN JAMTRONICA FESTIVAL SUBCULTURAL SCENES." UKnowledge, 2018. https://uknowledge.uky.edu/sociology_etds/38.
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The purpose of this study was to explore emerging issues surrounding gendered fear, threat, and violence perpetration at music festivals – particularly events that feature a synthesis of jam band and electronic dance music acts – a genre termed jamtronica by its fans. Though gendered violence perpetration and prevention have been widely studied within other party-oriented settings (i.e., sexual violence perpetration on college campuses), very little research exists to address how wider disparities of gender and sexuality permeate a community whose members frequently claim the scene’s immunity from external inequalities.
In this three-year multi-sited ethnography, I incorporate participant observations, group and individual interviews, and textual analyses to progressively layer investigations into: 1) festival-goers’ gender-bifurcated perceptions of the problems they face within the event arena; 2) how institutional and interactional inequalities fuel gender-sexual expectations that exacerbate the risks with which festival-going women’s contend; and, 3) how jamtronica’s “libertarian and libertine” codes complicate women’s negotiations of (sub)cultural agency, expression, and safety. Findings derived across fourteen sites, interviews with 179 festival participants, and countless material texts suggest that men and women do perceive festival “problems” in very different ways – subsequently leading women to calculatedly navigate festival terrains, interactions, and self-presentations in ways that festival-going men seldom must. Protected by scene norms that paradoxically elevate personal autonomy and group integration, festival-going men’s homosocial displays of masculinity (through pranks, drinking and drug use, and even sexual predation) often goes unchallenged – or, is seemingly even encouraged.
In an environment that both scholars and study participants claim to eclipse mainstream inequalities of gender and sexuality, a closer look reveals the multiplex ways that festival-going women risk their physical, social, and sexual well-beings in order to pursue the emancipatory promises that jamtronica music festival community discourses purport. For this understudied, yet rapidly growing, subcultural scene, this study offers conceptual and analytical foundations to event-specific violence prevention programming, as well as gender and sexuality-centric initiatives paramount to ever-diversifying jamtronica music festival communities.
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Tang, Hans. "Kulturstråket." Thesis, KTH, Arkitektur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-168438.
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Älvsjö är stark trafikknytpunkt med goda pendeltåg- och bussförbindelser och en målpunkt för alla besökare till populära Stockholmsmässan. En Kulturskola i Älvsjö skulle förstärka och utveckla platsen ytterligare som en mötesplats och koppla ihop Älvsjö centrum, Älvsjö station med Stockholmsmässan. En kulturell mötesplats där barn och ungdomar mellan 6-22 år kan mötas i samband med kulturella aktiviteter såsom dans, musik, teater och bild. Konceptet är att skapa ett tydligt publikt stråk genom byggnaden som tar besökaren från stationen ner till parken och eventuellt vidare till Stockholmsmässan. Kulturstråket är publikt och tillgänglig för alla och skall synliggöra aktiviteterna som sker i byggnaden. Låta folk ta del av det som sker på kulturskolan i form av utställningar och framträdanden i anslutning till kulturstråket. Kulturstråket är navet i kulturskolan där barn, ungdomar och deras föräldrar samlas i väntan på lektionerna. Kulturstråket är själva foajén och huvudrummet i kulturskolan där även andra besökare kan använda det som passage och beskåda det som sker i byggnaden med alla dess kulturella aktiviteter. Skymta rörelser och suddiga siluetter i den semitransparenta kanalplasten som beklär delar av de interiöra rummen och den exteriöra fasaden.Älvsjö is a strong traffic hub with good rail and bus connections and a destination for all visitors to the popular Stockholmsmässan. A cultural school would strengthen and develop the site further as a meeting place and connect Älvsjö center, Älvsjö station with Stockholmsmässan. A cultural meeting place where children and young people between 6-22 years can meet in conjunction with cultural activities such as dance, music, theater and art. The concept is to create a distinct public way through the building that takes the visitor from the Älvsjö station down to the park and possibly further on to Stockholmsmässan. The Cultural highway is public and accessible for everybody. Let people take note of what is happening in the cultural school and be part of the exhibitions and performances taking place. The Cultural highway is the hub of the cultural school where childrens, teenagers and their parents gathers in anticipation of the lessons. The Cultural highway is the foyer and the main room in the school where other visitors can use it as a passage and take part of what happens in the building with all its cultural activities. Glimpse of movements and blurry silhouettes behind the semi-transparent polycarbonate panels which covers parts of the interior spaces and most of the exterior facade.
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Nilson, Teodor. "Kulturskolan Maskinen." Thesis, KTH, Arkitektur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-168582.
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Arkitekturprojektet som förslag syftar till att synliggöra Kulturskolans verksamhet i det aktuella området: Älvsjö i Stockholm. Skolan som plats utgör en plattform för möten och kulturutövande. Byggnadens utformning tangerar äldre såväl som senare arkitektur och skapar en relation som speglar Älvsjös mångtydiga identiteter. Skolbyggnaden skapar en fantasifull sfär för lärande och lek som hävdar barnkulturens okränkbara rätt till utrymme i staden.The architectural project aims to make the activity of the Communal Culture School visible in the Älvsjö area in Stockholm. The school as a place is a platform for meetings and cultural expression. The design of the building touches both old as well as later architecture and creates a relationship between them that reflects the ambiguous identity of Älvsjö. The school building creates an imaginative sphere for learning and for play, which claims child culture's inviolable right to space in the city.
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Fancher, Robert A. "Club Texas : building community in electronic music fan culture through online collaboration." 2012. http://hdl.handle.net/2152/19924.
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Club Texas: Building Community in Electronic Music Fan Culture through Online Collaboration is a report of results from a content analysis that analyzes the role of online participatory culture for community development and social capital for a local underground EDM ‘scene’ (Electronic Dance Music) in Dallas, TX. This study analyzes DallasDanceMusic.com (DDM), one of the first and largest message board communities to support the EDM community in Dallas, TX since 1994. The study measures participatory culture and social capital using content analysis of the site during high profile activity for a four-month period in 2012.text
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Anaipakos, Jessica Lyle. "Celebrity and fandom on Twitter : examining electronic dance music in the Digital Age." 2012. http://hdl.handle.net/2152/19664.
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This thesis looks at electronic dance music (EDM) celebrity and fandom through the eyes of four producers on Twitter. Twitter was initially designed as a conversation platform, loosely based on the idea of instant-messaging but emerged in its current form as a micro-blog social network in 2009. EDM artists count on the website to promote their music, engage with fans, discover new songs, and contact each other. More specifically, Twitter is an extension of a celebrity’s private life, as most celebrities access Twitter from their cellphones and personal computers, cutting out gatekeepers from controlling their image.
Four power player producers in EDM are used as case studies for analysis of the intimacy and reach Twitter provides. Chosen because of their visibility, style, and recognition, Deadmau5, Diplo, Skrillex, and Tiësto represent different EDM subgenres, run their own record labels, have dedicated fans, and are accessible through social media. All use Twitter to announce shows, interact with fans, promote contests and merchandise, and share stories and pictures of their personal lives with their fan followers. Tweets are a direct line for fans to communicate with these celebrities through the reply, retweet (RT), and mention functions on Twitter. Fan tweets to and from these EDM celebrities are also examined by looking at celebrity-fan encounters in the cyber world and the real world, aftereffects of celebrity RTs, and engagement with said celebrities.
The internet is the lifeline for this subculture as it changed the way EDM is shared, promoted, and packaged. Twitter and other social media sites give producers the exposure they never experienced with traditional media and allow fans to participate in a global subculture. To sum up, this is a study on how Twitter influenced EDM and personalized the relationship between producers and fans.text
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Zervogiannis, Fanitsa Helen. "The "e" in rave : a profile of young ecstasy users and its implication for educators." 2000. http://hdl.handle.net/10500/17873.
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The use of methylenedioxymethamphetamine (MDMA) or Ecstasy is a phenomenon that has established itself in the widespread Rave culture. Ecstasy use causes not only physical, social and psychological problems in the development of the adolescent but may also influence his concentration and learning abilities. To prevent these problems educators should be well informed regarding current drug use trends and also be capable of assisting adolescents. Research regarding the nature of Ecstasy use and the characteristics of its users is lacking nationally. The increase in use amongst school going adolescents and young adults and the fact that there are side effects and unknown long term effects has made it imperative that educators learn as much as possible about this drug. The purpose of this research is therefore to furnish the educator with accurate information that will enable him to obtain a reference point from which assistance can be offered to the young Ecstasy user.Psychology of Education
M.Ed.(Guidance and Counselling)
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Sliavaite, Kristina. "When global becomes local, rave culture in Lithuania." 1998. http://www.anthrobase.com/Txt/S/Sliavaite_K_01.htm.
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Thesis--Lund Universitet, Sociologiska Institutionen, Avd. för Socialantropologi, 1998.Title from screen page; viewed 25 July 2005. Includes bibliographical references. Also available in print format.
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Marsh, Charity. "Raving cyborgs, queering practices, and discourses of freedom : the search for meaning in Toronto's rave culture /." 2005. http://wwwlib.umi.com/cr/yorku/fullcit?pNR11596.
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Thesis (Ph.D.)--York University, 2005. Graduate Programme in Musicology and Ethnomusicology.Typescript. Includes bibliographical references (leaves 255-268). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNR11596
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Renzo, Adrian, University of Western Sydney, College of Arts, and School of Communication Arts. "Love in the first degree : handbag dance music and gay male culture." 2007. http://handle.uws.edu.au:8081/1959.7/11830.
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This thesis explores the links between handbag dance music and gay male culture. Handbag (colloquial British slang for ‘uplifting,’ ‘girly’ remixes of Top 40 songs and similar club material) is frequently derided within club culture for being predictable, formulaic, and ‘commercial.’ However, the same music is hugely popular within gay male clubs. Significantly, handbag tends to retain clear song structures, as opposed to the more open-ended instrumental ‘tracks’ which are the norm in electronic dance music. Why would a marginalised group adopt such a low-status music as its own? Why does handbag have such low status in the first place? This thesis argues that the field of ‘electronic dance music’ is rife with distinctions between ‘credible’ dance music and ‘commercial trash,’ and that these distinctions are frequently used to downplay song-based genres. The pleasures of handbag can be better understood if we pay attention to the ways that ‘songs’ (rather than instrumental ‘tracks’) have always played an important role in club music. Love in the First Degree questions an emerging orthodoxy in sociology and popular music studies: that issues of identity can only be approached ethnographically. By interrogating the music itself, the thesis explores the ways in which musical conventions can be deployed to arouse desire on the dance floor—and the reasons that these musical strategies are particularly useful in gay male clubs.Doctor of Philosophy (PhD)
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Segal, Barbara. "The Contribution of Dance and Pantomime to London’s Musical Culture." 2020. https://slub.qucosa.de/id/qucosa%3A73212.
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Lock, Julia Corinne. "Waltz across Texas literary and cinematic articulations of Texas country music and dance culture /." 2003. http://wwwlib.umi.com/cr/utexas/fullcit?p3116108.
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Chaudhuri, Arun Kumar. "Culture, community, and identity in the "sampled world" : South Asian urban/electronic music in Toronto /." 2005.
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Thesis (M.A.)--York University, 2005. Graduate Programme in Social Anthropology.Typescript. Includes bibliographical references (leaves160-169). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11765
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Conner, Christopher Thomas. "Documenting The Use of Appearances Among The DJ and Nightclub Patrons." Thesis, 2010. http://hdl.handle.net/1805/2132.
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Indiana University-Purdue University Indianapolis (IUPUI)This is a photo-documentary study of two themes found within the literature on fabulous appearances: the gay nightclub patron and the club DJ. This study used a large Midwestern gay nightclub as the field setting. Fabulousness involves the way patrons costume themselves in order to communicate status within the setting. This study revealed that participants in the setting utilize three different types of self-presentation. These types embody desirable characteristics and ideas of attractiveness that revolve around power, establishing a normalized “gay” identity, and using surreal based characteristics to achieve their goal of being noticed. The DJs served as informal organizers through their appearances and performances. Analysis of the DJ role found that DJs provide visual cues for other participants in the setting on how to act, dance, dress, and behave. This study is the first in depth examination of the role of the DJ and the communicative processes between the DJ and dancers in gay nightclubs.
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Hoeppner, JoAnna. "The importance of preserving American folk culture a guide to the cooperative teaching of folk dance in physical education and music /." 2003. http://www.oregonpdf.org.
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Hsu, Shan-Hui, and 許善惠. "Museum, Performance and Culture: a Case Study on Paiwan Kalarulan Performance in“Austronesian Music and Dance Show”." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/p2a4xs.
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碩士國立臺北藝術大學
博物館研究所碩士班
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Besides exhibitions, museums communicate with their audiences through performances. In recent years, museums cooperate with Taiwanese indigenous peoples through cultural performances, in the form of body movements, ballads sung or dramas, to attract the public to know more about their culture. However, as one type of cultural representations, how do performance represent a culture？Performances provide audiences dynamic and emotional stirring learning experience, but what the effect do performances bring to performers themselves and their culture？ This is a case study on Paiwan Kalarulan performance in“Austronesian Music and Dance Show”, a cultural performance program in National Museum of Prehistory. The study mainly adopts two research methods--participant observation and in-depth interview. The study aims to know how people present their culture through performances and retrace the close connections between performance and culture. According to the findings, curators from Kalarulan apply the innate qualities of performance and the powerful influences of singing and dancing to manifest specific aspects of Paiwanese traditional culture. Moreover, they also try to encourage the teenagers and kids to identify with Paiwanese Kalarulan culture for handing down the traditional value in this modern society. During the process of arranging the outward performance“Austronesian Music and Dance Show”, curators from Kalarulan adopt the traditional rituals, dances and songs to interpret the essence of the culture. On the other hand, National Museum of Prehistory interacts and cooperates with nearby indigenous communities through this performance program. This program broadens the influence of the museum. The concerns do not merely focus on visitors, but also involve in those indigenous communities. They are invited to express their creative ideas in the museum, meanwhile, to show their rights on cultural interpretation. Realizing the ideas of respecting local cultures and multiple interpretations, National Museum of Prehistory also challenges and tries to change the past general image of anthropology museums – symbols of governance and authority.
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Mugovhani, Ndwamato George. "Venda choral music: compositional styles." Diss., 2007. http://hdl.handle.net/10500/1202.
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Black choral music composers in South Africa, inspired by the few opportunities available to them until recent times, have nonetheless attempted to establish, perhaps subconsciously, some choral tradition and, in doing so, incorporate African musical elements in their works.
My research traces the foundations and historical development of choral music as an art amongst Vhavenda, and the contributions made thereto by a number of past and present Venda composers that this researcher could manage to identify and trace, to the music of the people. The selected composers are Stephen Maimela Dzivhani, Matthew Ramboho Nemakhavhani, Derrick Victor Nephawe, Joseph Khorommbi Nonge, Israel Thinawanga Ramabannda and Fhatuwani Hamilton Sumbana.
Through the application of multiple methodological lenses, the study sets out to analyse, describe, and interpret Venda choral music. Of particular interest is the exploration of the extent to which the ”formal” education that was brought by the Berlin Missionaries influenced Venda choral musicians, particularly the selected Venda choral music composers. Also crucial to this research is the exploration and identification of elements peculiar to indigenous Venda traditional music in the works of these composers. The question is whether it was possible for these composers to realize and utilize their potentials fully in their attempt to evoke traditional Venda music with their works, given the very limiting Western tonic sol-fa notational system they were solely working with. The project also briefly traces the place of Venda choral music within the South African music context and its role within the search for cultural identity.
The research has found that the majority of Venda choral music written so far has generally not been capable of evoking indigenous Venda traditional music. Whilst these composers choose themes that are akin to their culture, social settings, legend and general communal life, the majority of the music they set to these themes does not sound African (Venda in particular) in terms of the rhythms and melodies. The majority of the compositions under scrutiny have inappropriate settings of Venda words into the melodies employed. This can be attributed to the limitations imposed by the tonic sol-fa notational system, which was the only system they were taught in the missionary schools established around Venda and which, itself, was flawed as well as the general lack of adequate music education on the part of the composers themselves. Despite these limitations and the very few opportunities available to them, Venda choral music composers nonetheless managed to lay a foundation for choral music as an art amongst their people (Vhavenda).Art history, Visual Ars and Musicology
D. Mus
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Kazdová, Darina. "Počátky pražské klubové scény." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-299016.
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This piece of work was meant to be countinuous to my bachelor's thesis. In that essay I was dealing with the history of Czech electronic dance music in general. This time I focused just on Prague and surrounding area. The Czech capital was deeply influenced by presence of tourists. After the Velvet revolution, they were suddenly able to visit Prague. And as they they were already familiar with electronic music, they could help to spread it here. The situation in Prague is also compared with the rest of the world (western civilization). In the first part of the essay, I describe the qualitative research and the method I have used, which is the oral history. I also enclose a brief vocabulary of frequently used terms that are not very well known to the greater audience, I suppose. The last part is the analysis of the interviews itself. The interviews were done with important narrators.
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Klementová, Kateřina. "Renesanční tanec: zrcadlo kultury raně novověké společnosti." Doctoral thesis, 2015. http://www.nusl.cz/ntk/nusl-352957.
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The main focus of the dissertation is 15th century Italian court dance, which was one of the prime manifestations of the emerging aristocratic society all across renaissance Europe. The dissertation draws on a detailed research into original dance notations and works on dance theory of dance masters Domenico da Piacenza, Antonio Cornazana and Guglielmo Ebreo/Giovanni Ambrosio and contains first-time Czech translations of important parts of these works. The text first addresses general issues (occasions and locations for dancing, dance education and the role of the dance master, functions of dance in a given historical period, intellectual and philosophical framework of early dance treatises) and moves on to analyse specific features of period dance theory and provides a description of ractical aspects of the realization of dance choreography (basic steps and movements, figures, spatial dance forms etc.). The dissertation contains a reconstruction of one such dance choreography. A certain journey into related fields and later historical periods are chapters on the aesthetic of movement (required posture, position of the head, facial expression, hand gestures etc.) and period etiquette (acceptance of social hierarchy in dance and beyond, ways of showing respect and greetings, asking to dance and...
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Izu, Benjamin Obeghare. "Music and associated ceremonies displayed during Ugie (festival) in the Royal Court of Benin Kingdom, Nigeria." Diss., 2012. http://hdl.handle.net/10500/6721.
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This study examines the Oba of Benin Royal Ugie ceremonies, which is an annual religious and cultural event celebrated by the Benin speaking people of Edo State, Nigeria. As a communal and spiritual activity, the Oba and people of Benin kingdom mark the Ugie festivals with Musical and dance performances. Within this context, the study adopts the historical and participant approaches as its method of contending that some events during the Oba of Benin Royal Ugie festival ceremonies are colorful theatrical performances.
The organizational structure of the Oba of Benin Palace as it relates to the observance of Ugie festival ceremonies is also discussed in this research. This study also examines the role Ewini music plays in the various Oba of Benin Royal Ugie festival ceremonies, thereby looking at its origin, socio-cultural context, formation procedure, instrumentation, and organizational set-up.
This research also recommends different ways in which music practitioner can benefit by applying a theatrical approach to the study of these royal Ugie ceremonies and its music and also the ability of the festival ceremonies to continue to act as an instrument of stability and unity for the people of Benin kingdom, by bringing people from different walks of life together during the performance at Ugie ceremonies. For clarity, all non-english words are defined in the glossary section on page 73.Art History, Visual Arts & Musicology
M.Mus.