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Dissertations / Theses on the topic 'Global Music'
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1
Goldschmitt, Kariann Elaine. "Bossa mundo Brazilian popular music's global transformations (1938-2008) /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1905631301&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Webb, Peter M. "Global cuts : an investigation into localised dance music production." Thesis, University of the West of England, Bristol, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.431158.
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Levy, Claire. "Youth and Popular Music in Bulgaria: Local versus Global." Bärenreiter Verlag, 2000. https://slub.qucosa.de/id/qucosa%3A36646.
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Harris, Keith Daniel. "Transgression and mundanity : the global extreme metal music scene." Thesis, Goldsmiths College (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397110.
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Jönsson, Sara, and Linda Lagerdahl. "Swedish Music and Fashion - a Global Passion? : Swedish Gorn Globals: Where do they go and why?" Thesis, Stockholm University, School of Business, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6117.
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This Master Thesis discusses the phenomenon of Born Globals, i.e. companies which internationalise at an early stage and view the whole world as their playing field. Most definitions of Born Globals only regard the international output of a company. We have chosen to consider the international input as well. The definition of Born Globals used in our study is: ´a firm that from its inception derives competitive advantages from the use of resources and the sales of outputs in multiple countries´. These are the research questions: 1. Which countries/markets do the Swedish Born Globals trade in, input and output? 2. Why have the companies entered these countries/markets? 3. Does culture influence the decision of which countries/markets to go into? How? A purpose of this thesis is to contribute new knowledge within this subject. And since most research about Born Globals has been focused on the high-technology sector, we have as an alternative, selected two industries within the Experience Economy; music and fashion. We examined research question number 1 through a quantitative process; a telephone survey including ten Swedish Born Global companies from each industry. Furthermore, we approached research questions 2 and 3 through a qualitative manner using in-depth interviews with two companies from each industry. Theories chosen for this thesis are: the Uppsala School, the Transaction Cost Analysis, the Network, the Born Global, the Social Capital, the Marker Size, the Push and Pull and the Country Cluster theories. In conclusion, the largest output countries for the music business are Germany, the U.S., Japan and England. On the input side, the most common markets are England/UK, the U.S. and Germany. In the fashion business, the most common markets for output are Denmark, Norway, Finland, Germany, England/UK, Greece and Japan. The largest markets for input are Portugal, Italy and China. The music companies put forward a number of reasons for the most common output markets: openness to new music, large market potential, geographical closeness, similar music style, contacts and the use of a country as a “springboard” to enter other markets. The fashion companies gave a number of reasons for the most common output markets: geographical and cultural proximity, networks and similar fashion style. Reasons on the input side are: history in textile manufacturing, flexibility, quality, contacts, networks, coincidence, reputation and low cost. All respondents agreed that culture influences the decisions of which countries to enter as well as which markets to stay away from. In the Final Discussion we have presented an inductive model called the Born Global Four-Fielder. This model considers the international input and output sides equally important.
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Heneghan, Frank. "Ireland's Music Education National Debate rationalization, reconciliation, contextuality and applicability of global philosophies in conflict /." Pretoria : [s.n.], 2004. http://upetd.up.ac.za/thesis/available/etd-11082004-084013/.
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Thesis (D.Mus.)-University of Pretoria, 2004.Paper copy accompanied by 1 CD-ROM with title: The Music Education National Debate (MEND). Includes bibliographical references. Available on the Internet via the World Wide Web.
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Browning, Joseph. "Cosmopolitan natures : music, materiality and place in the global Shakuhachi scene." Thesis, SOAS, University of London, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.698084.
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Vogelgesang, Anna Ruye. "An Investigation of Philosophy and Practice: Inclusion of World Musics in General Music Classes." Bowling Green State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1554376600823459.
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Schmidt, Patricia Anne. "Québec Electric: Montreal, Mutek and the global circuit." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=103486.
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Montréal-based artists and organizations are significant and deliberate players in the global creation and exchange of electronic music and digital culture. My research will explore the conditions that continue to produce a concentration of future-looking industries, arts and culture. A yearly event in Montréal with branches in South America and global circulations, the Mutek festival provides an opportunity to study the unique and emerging relationship between niche and avant-garde festivals and their cities; new industries, music, art and technology; local/global interactions and networking; policy at all levels of government and new economic opportunities for culture in general. It provides an emerging model/cultural form of a 21st century art and music festival. I intend to show how governmental policy affects the festival and contribute to recent work that casts cities in new socio-cultural and economic roles, and as part of increasingly sophisticated international networks.Les artistes et organismes de Montréal sont des acteurs importants et impliqués à une échelle globale dans un circuit de création et d'échange des musiques électroniques et de la culture numérique. Mes recherches explorent les facteurs qui permettent de faciliter la mise en place continue d'une concentration d'industries innovantes, d'art et de culture. Le festival Mutek, qui se tient tous les ans à Montréal et est inscrit dans une dynamique globale d'échanges et de diffusion, avec de fortes connexions en en Amérique Latine latine notamment, offre la possibilité d'étudier les relations particulières et nouvelles entre les festivals de niche et d'avant-garde et les villes où ils prennent place, entre les industries innovantes, la musique, l'art et la technologie, les tissus locaux et internationaux de collaborations et interconnexions, les politiques à tous les niveaux de gouvernements et les nouvelles opportunités économiques pour la culture en général. Il incarne un modèle émergent, une forme culturelle nouvelle de festival artistique et musical du 21ème siècle. Mon travail démontrera comment les politiques gouvernementales peuvent affecter mais aussi contribuer à la dynamique récente qui donne aux villes un rôle socio-culturel et économique tout en les inscrivant dans un maillage international de plus en plus sophistiqué.
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Olson, Ted. "Comparing Global Regions: Appalachia and Catalunya." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/1216.
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Jackson, Stephanie Lou. "Beyond Kitsch: A. R. Rahman and The Global Routes of Indian Popular Music." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1276889390.
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Degirmenci, Koray. "Turkish World Music: Multiple Fusions And Authenticities." Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/3/12610077/index.pdf.
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This dissertation investigates the case of world music in Turkey as an illustration of the discursive mechanisms involved in the production of a global cultural form from what the globality has defined as the &lsquolocal&rsquo
. The study attempts to show the complicated nature of the process by examining how the musical forms and themes supposedly belonging to the &lsquo
local&rsquo
are incorporated into and appropriated in the discourses associated with world music and into the corresponding strategies of the actors. The discursive compilations, articulations and dislocations taking place in the subspecies of the commercial category of world music in a particular locality are investigated by mapping the discursive topographies on the imaginary continuum from the global to the local. This study views locality as a space where a repertoire of discourses are contested and articulated in the production and consumption of global cultural commodities. In line with this understanding, this dissertation also investigates what is the local as it is produced through the particular brand of world music in Turkey. The study also aims to contribute to the theoretical discussions in the literature on the interaction between the global and the local by looking at the production of a global cultural form in a particular locality.
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Cohen, Richard Scott. "The musical society community bands of Valencia, Spain a global study of their administration, instrumentation, repertoire, and performance activities /." Tutzing : Schneider, 2002. http://catalog.hathitrust.org/api/volumes/oclc/49229037.html.
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Martin, Tania Josephine. "Protest music, society and social change." Doctoral thesis, Universidad de Alicante, 2018. http://hdl.handle.net/10045/98012.
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Desde los años 1990 (Curtis, Ward, Sharp, & Hankin, 2013), con el desarrollo de un mundo cada vez más globalizado e individualista, diferentes estudios (Andreotti, 2014; Brown, 2017; Byram, 2014b; Guilherme, 2002, 2007; Hoskins, 2006; Hoskins & Crick, 2010; Osler & Starkey, 2015; Shultz, 2007; VanderDussen Toukan, 2017) han mostrado la necesidad de desarrollar políticas educativas que impliquen una forma de aprendizaje donde los estudiantes sean capaces de desarrollar proyectos y competencias cívicas que aborden temas referidos a cuestiones sociales, económicas o ambientales, entre otras. Este enfoque global y colaborativo de la educación es conocido como Global Citizenship Education (GCED), y en él se abordan contenidos como la paz y los derechos humanos, la interculturalidad, la educación ciudadana, el respeto por la diversidad y la tolerancia, y la inclusividad. Partiendo de estos principios, la pregunta de investigación planteada es ver si la canción protesta tiene elementos que pueden servir como materia transversal en el ámbito educativo especialmente en la formación de la GCED en alumnos universitarios. El antecedente del uso de la canción protesta, por ejemplo, para despertar sentimientos hacia movimientos sociales que estaban o están en contra de la guerra y en consecuencia buscar la mejora de los derechos civiles, no es algo novedoso. Los episodios que protagonizó la sociedad estadounidense contra la guerra de Vietnam se pueden considerar como un hito histórico en la reivindicación de estos –The Civil Rights Movement-, pero en la actualidad, dada la globalidad y la individualización del mundo, como ya se ha señalado, parece ser que la canción tipo protesta, a pesar de su producción y conocimiento por parte de la sociedad, no tiene el mismo vigor ni magnitud que en épocas anteriores. Esta aparente carencia de vigencia cuando el mensaje que subyace es el mismo a largo del tiempo, pone de manifiesto una serie de inputs que deben de ser analizados con el fin de comprender y profundizar en los procesos y las complejas interacciones entre este tipo de músicas y la construcción de significados que respondan a los principios de la GCED. Por este motivo el estudio tiene cuatro fases. La primera ha consistido en hacer un vaciado que relacionara prensa y canción protesta, pues se ha considerado que la prensa en el año 2003 –Guerra de Irak-, todavía actuaba como formadora de opiniones. En segundo lugar, se abordaron aquellas canciones que respondieran al concepto de canciones antiguerra de Irak y ver si tenían en la población algún efecto de tipo transversal que respondiera a los principios de la GCED- En tercer lugar, comprobar si una canción mayoritariamente desconocida por los alumnos universitarios Stange Fruit (Meeropol, 1939) que pone de manifiesto y clama contra la violencia racial (Lynching) podría todavía tener vigencia transversalmente en la actualidad en el ámbito educativo universitario, como en la sociedad en general. En cuarto lugar, se decidió estudiar el impacto de un texto con un alto contenido contra el racismo y la venganza con la finalidad de explorar si la carencia de acompañamiento musical produjera los mismos resultados que los estudios anteriores. El texto fue un extracto conocido como “Hath not a Jew eyes? ”de la obra de Shakesepare, “The Merchant of Venice” Global Citizenship Education (GCED), la promoción de educación para una ciudadanía global, representa un compromiso a nivel internacional para abordar temas actuales y globales como pueden ser: medio ambiente y desarrollo sostenible, justicia social, derechos humanos, pobreza y la paz, entre otros.
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Fogel, Peter. "Technology on the Musical Global Frontier : A Study of Brazilian Music Actors’ Technological Negotiations." Thesis, Örebro universitet, Musikhögskolan, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-69151.
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Chakravarty, Rangan. "The global and the local in the post-colonial : popular music in Calcutta (1992-1997)." Thesis, University of Sussex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298121.
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Witulski, Christopher. "Defining and revising the Gnawa and their music through commodification in local, national, and global contexts." [Gainesville, Fla.] : University of Florida, 2009. http://purl.fcla.edu/fcla/etd/UFE0021206.
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Chircop, Tatjana. "Music in young Maltese women's lives." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/8297.
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This study explores how young Maltese women give meaning to the music they listen to and how this music is incorporated in everyday discourses and identities within the differing local contexts of their lives. This area of research has not attracted the attention of researchers and this study starts to fill this gap. The research was carried out in Malta, a post-colonial island with a population of approximately 400,000 people. Through purposive sampling and snowballing, 20 in-depth interviews were carried out with young Maltese women aged 16-34, from different social backgrounds. By looking at young Maltese women’s identities through their engagements with music, this study shows how girls experience the tensions between the opposing forces of Maltese traditional music and more modern globalised musical forms. Music was found to be a means of conspicuous leisure as well as a means of maintaining social difference and distinction. Musical taste and the social practices associated with that particular music was found to be a primary indicator of social class for Maltese girls. The significance of this study lies in the exploration of a topic that has not yet been properly researched. It combines the Maltese context and the gendered nature of identity formation in Malta’s music scene. The framework of categorisation of respondents is also significant since rather than categorising respondents according to the music they listen to, it categorises respondents through the ways in which they engage with their music. By developing Willis’s (1978) analytical framework, participants were placed into four categories of Fully Committed, Committed, Active Drifters and Passive Drifters. For each category, the most prominent characteristics of participants’ music identities are analysed. These include their understandings of social and cultural capital, structure and agency, negotiations of social boundaries and identity formation. The idea of distinct music subcultures is questioned as, in their everyday lives, young women in Malta rarely conform with distinct cultural groups but form parts of multiple groups within the contexts of their lives. Moreover, processes of hybridization seem to have erased what might have been understood as a subculture’s distinguishing characteristics. These have often become adopted and eventually absorbed by mainstream culture making distinct subcultures problematic. The findings of the research imply tensions between traditional and modern lifestyles that are, in turn, associated with different strata of social class.
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Ola, Adebola Mobolaji. "Cultural interchange along the Indian Ocean during the global middle ages (700- 1500ad): the role of Arabs and Persians in Africa-China musical exchange." Master's thesis, Faculty of Humanities, 2021. http://hdl.handle.net/11427/33938.
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The relationship between Africa and China remains one of the most important geopolitical and economic partnerships of the 20th and 21st centuries. The Africa-China relation, although relatively recent, has its foundation in previous relations dating back over 500 years ago. It is against this backdrop of longstanding relations that this research is situated as it aims to trace and examine Africa-China musical exchange between 700-1500AD. The main goal of this research is to answer the following questions: (1) Are there any musical exchange between Africa and China between 700 -1500AD? (2) If there are, what are these musical exchanges and how did they manifest? (3) Are these musical exchanges mutual? (4) If there are no musical exchanges during this period, why? (5) Are there any musical exchanges at any other time pre-700AD or post 1500AD? (6) What are some of the impacts of such a musical exchange? This research uses a historical framework in understanding and presenting Africa-China cultural relations. My hypothesis, given that Africa and China did not officially meet or establish formal relations until the early 15th century, posits that in the absence of direct musical exchange, the Arabs and Persians may have been the music brokers, circulating music both to Africa and China as they did with trade. Having consulted some translated primary sources, several secondary sources and iconographic materials obtained from libraries and archives, the research findings suggest that my hypothesis is partly correct. The Persians and specifically, the Arabs, were circulating musical and cultural practices around the Indian Ocean, all the way to Al-Andalusia (Arab Spain). This spread of music and culture, I argue, gave the region some musical uniformity within diversity. This uniformity is visible through the circulation of musical instruments such as the short-necked lute; the Persian barbat; the Arabian ūd; the Chinese pipa and the African kwitra, as well as the migration of musical ideas and musicians such as Barbad, Ziryab and Kang, throughout Asia, Africa and Europe. The direct musical exchange between Africa and China only takes place in the 20th century.
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Lavengood, Kathleen Elizabeth. "Transnational communities through global tourism experiencing Celtic culture through music practice on Cape Breton Island, Nova Scotia /." [Bloomington, Ind.] : Indiana University, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3319835.
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Thesis (Ph.D.)--Indiana University, Dept. of Folklore and Ethnomusicology, 2008.Title from PDF t.p. (viewed on May 13, 2009). Source: Dissertation Abstracts International, Volume: 69-08, Section: A, page: 3267. Adviser: Ruth Stone.
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Salvatore, Andrea Maria. "Entertaining the global consumer the role of the festivals in marketing West African film and music /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457045398/viewonline.
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Olson, Ted. "The Signs on the Road Ahead are in Other Languages: Teaching and Researching Appalachia from Global Perspectives." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/1113.
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McNeil, Bryce James. "Building Subcultural Community Online and Off: An Ethnographic Analysis of the CBLocals Music Scene." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/communication_diss/17.
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This dissertation contributes to music scene and online community studies. It is an historical examination of the CBLocals music scene in the summer of 2006. This scene is located in Cape Breton, Nova Scotia, Canada, and the website with which its participants identify. This study analyzes the CBLocals website as a cultural infrastructure of a music scene and thus positions itself to advance pre-Internet arguments about scenes. This dissertation argues that on the one hand, the Internet changes how music scenes function by increasing accessibility and mobility. On the other hand, it has left the social composition and ideological outlook of music scenes unchanged. Users celebrate the medium's possibilities and what the CBLocals website has brought to their scene. They also feel nostalgia for the practices they feel their scene has lost along the way. The result is that the most significant consequence of CBLocals.com and the Internet on the music scene is a feeling of ambivalence in its participants. In the second and third chapter, I demonstrate how local context still greatly affects the representation of the CBLocals scene. In Chapter Two, I analyze the social composition of CBLocals based on race, gender, region, class, sexuality and age. I conclude that this social composition is unaffected by technological advances. In Chapter Three, I analyze discussions of "selling out" within the scene. I conclude that regional perspectives of state-supported professionalism in music and arts inform discussions on "selling out" that are specific to the CBLocals community. The fourth chapter explores the CBLocals users' perceptions of the website and messageboard. Users celebrate a variety of benefits, such as an interactive forum, the social lubrication provided by online gossip and the ease of promoting music online. However, many users dislike what they see as the erosion of work ethic and standards of discourse that have occurred in the Internet age. These mixed emotions reflect the ambivalence resulting from the celebration of possibilities and the nostalgia emergent with new technology.
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D'allevedo, Pedro Tadeu Faria. "O circuito-cena e.music de João Pessoa: dinâmicas locais de uma cultura jovem global." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/7272.
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The research tries to understand the way by which the electronic music culture is signified in the urban space of João Pessoa. This comprehension passes through the conformation of a festive setting circuit that, on a certain way reflects assumptions and significances of certain places of the urban space by the young people who affiliate to it. This culture with the youthful character of contemporaneity was gestated in England at the second half of the eighties and, in a short time, assumed an eminent transnational character, arriving to lead in the urban space of João Pessoa city at the end of the 90´s. At some measure, this young cultural practice has as a characteristic to fuse diversion with commercial activity, when it manifests itself at the city´s night leisure sphere through parties, bars and night clubs, and whose dynamics can be observed through social practices that youth, from them, develop in the urban and social environment. It´s appearance at the capital of Paraíba came linked to the electronic music genre and to the different themes that form it, which are very consumed and appreciated by society´s medium and high stratums. This way, this report pretends to emphasize social, cultural and behavioral practices that people build from dancing meetings that youthful culture itself makes in these urban and social contexts. The report was developed using ethnographic procedures, especially because the active observation offered a close and internal look of the investigated phenomenon, at the same time that tries to interlace three lines of reflection: the youthful culture, the social actors and the city.
A pesquisa busca compreender o modo como a cultura da música eletrônica é significada no espaço urbano de João Pessoa. Essa compreensão passa pela conformação de um circuitocena festivo, que de certa forma reflete apropriações e significações de determinados lugares do espaço urbano pelos jovens que a ela se afiliam. Esta cultura de cunho juvenil da contemporaneidade foi gestada na Inglaterra na segunda metade dos anos 80 e, em pouco tempo, assumiu eminente caráter transnacional, vindo aportar no espaço urbano da cidade de João Pessoa no final da década de 90. Em alguma medida, esta prática cultural jovem tem como característica conjugar diversão com atividade comercial, quando se manifesta na esfera do lazer noturno da cidade por meio de festas, bares e night clubs, e cuja dinâmica pode ser observada por intermédio das práticas sociais que os jovens a partir dela desenvolvem no meio urbano e social. O seu aparecimento na capital paraibana surge atrelado ao gênero musical eletrônico e às diversas vertentes que o compõem, as quais são muito consumidas e apreciadas pela camada média e alta da sociedade. Desse modo, o estudo pretende destacar práticas sociais, culturais e comportamentais que os sujeitos tecem a partir dos encontros dançantes que a cultura juvenil em referência realiza nesse contexto urbano e social. O estudo desenvolveu-se por meio de procedimentos etnográficos, muito em razão de a observação participante propiciar um olhar de perto e de dentro do fenômeno investigado, ao mesmo tempo em que procura entrelaçar três linhas de reflexão: a cultura juvenil, os atores sociais e a cidade.
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Mirabella, Marita. "Heavy Metal and Globalization : Reception study on the Metal community in the Global South." Thesis, Stockholms universitet, JMK, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-144032.
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Heavy Metal is a peculiar music genre, made by fans for fans, which spread throughout the entire planet and became, over its five decades of existence, a global community as well. These aspects of Heavy Metal make it a very interesting phenomenon to study. Heavy Metal has previously been researched with a micro outlook on its local connotations in several different Global South countries, analyzing one at a time. As far as the whole Global Metal community is concerned, to this day, there seems to be no literature that is based on the Global South perspective, but only on the Western one. As it has not been attempted to study Global Metal with a macro outlook and to take a broader perspective on it, this research employs a larger view on the Global South’s point of view on Metal culture. Therefore this study aims at giving possible explanations about the reasons behind Heavy Metal worldwide spread. Results will show how further Heavy Metal reception studies on Global South metalheads should be approached through the lens of the Cosmopolitan paradigm; how the metalheads of the sample tend to indicate Death Metal as the most spread sub-genre and to describe themselves as open minded and tolerant. This research helps showing a slight tendency of metalheads to consider themselves part of a Global community, which is defined more like a family, underlining their inclination towards cosmopolitanism. Finally it will show how there should be a broader study on the sense making of well-known songs to determine whether or not there is a certain degree of similar interpretation across different cultures.
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Park, Hyunju. "The global and the vernacular: the appropriation of transnational cultural imagery and the reconstruction of cultural identities in the realm of contemporary Korean popular music." Thesis, Goldsmiths College (University of London), 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.404802.
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Perry, Robyn Paige. ""Ersatz as the Day is Long": Japanese Popular Music, the Struggle for Authenticity, and Cold War Orientalism." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617205969493365.
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Flett, Edward Charles. "Virtual frontiers and the technological state : contemporary American narratives in a global context." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:608353cc-62d8-496c-b8df-d79de028f03e.
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This thesis analyses a series of threshold states located within contemporary culture. It investigates the effects of technology on spatial relations and human conditions in recent centuries, with a specific interest in the rise of virtual phenomena and the ongoing process of virtualisation. Key to the discussion is measuring the extent to which America and its narratives have influenced the virtual layer attached to contemporary global technological culture. Prevalent within this framework is the idea of the frontier as an idealised outpost, a lingering threshold state that is scrutinised in terms of its metaphoric power and socio-historical relevance. The research examines the points of interaction between the frontier, the virtual, and recent technology, as well as the areas in which technology has been produced, distributed, and consumed, as a means of building on ‘virtual frontiers’ and the ‘technological state’ as original critical concepts. Chapter one, from a socio-cultural and historical perspective, develops the idea of California as the location where the frontier spirit dispersed, transferring to an extent from land to body. Rich in posthuman ambience, the state functions as a hub from which to negotiate the position of the body in relation to the frontier: to look at the body as a frontier in itself, its virtualisation, and the now perennial dialectic between the positive and negative effects of technology on human/non-human interactivity. From the ashes of the 1960s, pockets of urban youth living in America’s inner cities gave birth to a subculture that is now globally recognised as Hip Hop. Despite Hip Hop always being a potent reflective surface, chapter two assesses its development and continuing capacity as a virtual and technological form of expression. In the decades between Malcolm X’s assassination and the election of President Obama, how has Hip Hop changed as a virtual arena and mode of resistance, as it has simultaneously been incorporated into the American mainstream? Indeed, as a cultural object and virtual space with the potential to carry evocative messages across thresholds, did Hip Hop even survive this transition? And what were the ramifications of its transformation? The third chapter examines the shadows emanating from the terrorist attacks on the US in 2001. The narratives from 9/11 are considered while investigating a diverse selection of transnational texts that touch on the subject, including works from Don DeLillo, Amy Waldman, Martin Amis, and Frédéric Beigbeder. Also considered is the day’s social and historical significance, and its power as a virtual event. More specifically, the impact on time, perception, and narrative structure is observed, each element appearing in the shadows that stretch out from the decades before and beyond the events of that clear blue September morning. Through characters in recent fiction by William Gibson and Hari Kunzru, the final chapter scans American consumption and the representations projected out from its brands and advertising. Within technological states now transmitted globally, the chapter reflects on the consequences of consumer culture as we venture further into the virtual and its realities, drawn through what Jean Baudrillard calls an irreconcilable conflict between ‘total integration’ and the ‘dual form’.
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Wallin, Hageving Andreas. "IFPI : A Postcolonial Critique of the Trade Body’s Organisational Structure and Ideology." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-94723.
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The purpose of this thesis is to present a postcolonial critique that may empower non-Western music industries globally. As per Nigerian music executive Tunde Ogundipe’s reasoning, its analysis isn’t prescriptive – it presents a critical analysis of IFPI’s organisation and ideology, which non-Western stakeholders may use as free strategic business intelligence if/as they please. Using a sociological methodology, IFPI’s organisational structure and operations are analysed with reference to three postcolonial axes: ideology, history and political geography. The analysis uncovers colonial path dependencies and present-day policies that reproduce the ‘civilising mission’.Syftet med detta examensarbete är att presentera en postkolonial kritik som kan stärka icke-västerländska musikindustrier globalt. Enligt den nigerianska musikföretagsledaren Tunde Ogundipes resonemang är analysen inte föreskriftsmässig – den presenterar en kritisk analys av IFPIs organisation och ideologi, vilken icke-västerländska intressenter kan använda som gratis strategisk affärsintelligens om/som de vill. Med hjälp av en sociologisk metodik analyseras IFPI:s organisationsstruktur och verksamhet med hänvisning till tre postkoloniala axlar: ideologi, historia och politisk geografi. Analysen påvisar kolonialt stigberoende och samtida policys som reproducerar den “civiliserande missionen”.
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Mert, Ceren. "The Vigorous Local: Culture Industry, Hip-hop And The Politics Of Resistance In The Age Of Globalization." Master's thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/1137694/index.pdf.
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The aim of this thesis is to demonstrate how music has become a significant means of communication in the process of globalization, and how it integrates the &lsquoglobal&rsquo
and the &lsquo
local&rsquo
while enabling the aggrieved populations to speak through and to express their antagonistic stances. In addition to the discussions of globalization, this study analyzes the medium of music along the areas of media and identity politics. In this respect, it deliberates on the global and local features of hip-hop. Although born in the ghettos of Bronx, New York, this global youth culture has been adopted by other minority youths in order to voice their anger and frustration towards the exclusionist practices of the state, as well as racism and discrimination they face in their host countries. Accordingly, the second and third generation Turkish youths in Germany and South Asian youths in Britain have revealed their rage through the subversive lyrics they employed. Therefore, these lyrics can also be regarded as narratives that indicate these immigrant youths as representatives of resistance and defiance. Despite the fact that the musical works of these minority youths may be considered a product of the &lsquo
culture industry&rsquo
, this does not eliminate their resistive and subversive characteristics.
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Assay, Eshghpour Michelle. "Hamlet in the Stalin Era and Beyond : Stage and Score." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040020.
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Hamlet a longtemps été une partie inséparable de l'identité nationale russe. Cependant, les mises en scène d’Hamlet en Union soviétique (surtout en Russie) durant l'époque de Staline présentèrent des problèmes spécifiques liés aux doctrines idéologiques imposées sur les arts et la culture en général ainsi qu’aux idées reçues concernant l’opinion personnelle de Staline envers de la tragédie. Les deux mises en scènes principales d’Hamlet en Russie au cours de cette période ont été celles réalisées par Nikolai Akimov (1932) et Sergei Radlov (1938). Un réexamen approfondi de ces mises en scène, entrepris dans les chapitres centraux de cette thèse, révèle des détails précédemment inconnus au sujet de leurs conceptions, réalisations, réceptions et au-delà. Cela met en évidence l'importance du rôle de la musique de scène composée pour elles par Dimitri Chostakovitch et par Sergei Prokofiev, respectivement, et suggère l'interaction complexe des agendas individuels et institutionnels. Ce travail a été rendu possible grâce à de nombreuses visites aux archives russes, qui contiennent de précieux documents tels que des livrets des mises en scène et les rapports sténographiques de discussions, précédemment non référencées à l'Ouest. Ces chapitres centraux sont précédés d'un aperçu historique d’Hamlet en Russie et de la musique et de Shakespeare en général. Ils sont suivis par une enquête au sujet des adaptations notables d’Hamlet à la fin de l’époque de Staline et après la mort du dictateur, se concentrant sur ceux qui contiennent les contributions musicales les plus importantes. Le résultat est un aperçu plus riche et plus complexe de l'image familière d’Hamlet comme miroir de la société russe / soviétiqueHamlet has long been an inseparable part of Russian national identity. Staging Hamlet in Russia during the Stalin era, however, presented particular problems connected with the ideological framework imposed on the arts and culture as well as with Stalin’s own negative perceived view of the tragedy. The two major productions of Hamlet in Russia during this period were those directed by Nikolai Akimov (1932) and Sergei Radlov (1938). Thorough re-examination of these productions, as undertaken in the central chapters of this dissertation, reveals much previously unknown detail about their conception, realisation, reception and afterlife. It highlights the importance of the role of music composed for them by Dmitry Shostakovich and Sergei Prokofiev, respectively, and it suggests a complex interaction of individual and institutional agendas. This work has been made possible by numerous visits to Russian archives, which contain invaluable documents such as production books and stenographic reports of discussions, previously unreferenced in Western scholarship. These central chapters are preceded by a historical overview of Hamlet in Russia and of music and Shakespeare in general. They are followed by a survey of major adaptations of Hamlet in the late-Stalin era and beyond, concentrating on those with significant musical contributions. The outcome is a richer and more complex account of the familiar image of Hamlet as a mirror of Russian/Soviet society
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Rodriguez, Aedo Javier. "Le folklore chilien en Europe : un outil de communication confronté aux enjeux politiques et aux débats artistiques internationaux (1954-1988)." Thesis, Sorbonne université, 2020. http://www.theses.fr/2020SORUL028.
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Cette thèse étudie la circulation internationale du folklore chilien pendant la seconde moitié du XXe siècle. On aborde le parcours de chanteurs et ensembles folkloriques liés à la gauche chilienne, ainsi que leurs pratiques artistiques, les espaces de diffusion musicale et les manières dont la musique folklorique est accueillie par le public général, les critiques de musique, les organisations politiques et les médias, notamment sur la presse de gauche et les maisons discographiques. L’espace géographique de cette circulation est constitué par les pays de l’Europe occidentale. La période d’étude est circonscrite par deux moments significatifs pour la circulation internationale du folklore chilien : le premier voyage en Europe de la chanteuse Violeta Parra le 1954 et la fin de l’exil des musiciens chiliens en 1988. Ce sont plus de 30 ans pendant lesquels les musiciens interagissent largement avec les divers contextes artistiques et politiques d’Europe. La première partie de la thèse aborde les activités que les musiciens chiliens ont réalisées en Europe entre l’année 1954 et le gouvernement de Salvador Allende (1970-1973), dans le contexte d’un fort regard exotique vers les musiques de l’Amérique latine. La deuxième partie s’occupe des activités artistiques ayant lieu entre les années 1968 et 1982, quand les événements politiques du Chili situent les manifestations culturelles, y compris le folklore, dans un lieu privilégié des circuits artistiques de la gauche européenne. Finalement, la troisième partie aborde les expériences artistiques développées entre les années 1978 et 1988, et analyse les répercussions que la vie en exil provoque sur la pratique du folklore chilien en Europe, notamment la mise en question de rôle de la politiqueThis thesis studies the international circulation of Chilean folk music’s during the second half of the 20th century. We discuss the international trajectory of singers and folk ensemble related to the Chilean Left, also their artistic practices, the space of musical circulation and the ways in which this folk music is welcomed by the general public, music critics, political organizations and media, including the left-wing press and labels. The geographical space of this circulation is constituted by the countries of Western Europe. The study period is circumscribed by two significant moments for the international circulation of Chilean folklore: the first trip to Europe of folk singer Violeta Parra in 1954 and the end of the exile of Chilean musicians in 1988. For more than 30 years, the musicians have been interacting extensively with the diverse artistic and political contexts of Europe. The first part of the thesis studies the activities that Chilean musicians performed in Europe between 1954 and the government of Salvador Allende (1970–1973), in a context of a strong exotic look towards the music of America Latin. The second part examines the artistic activities taking place between 1968 and 1982, when the political events of Chile locate the cultural manifestations, including the folklore, in a privileged place of the artistic circuits of the European left. Finally, the third part examines the artistic experiences developed between 1978 and 1988, and analyzes the repercussions that life in exile has on the practice of Chilean folklore in Europe, notably the questioning of the role of politics
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Mendonça, Luciana Ferreira Moura. "Do mangue para o mundo : o local e o global na produção e recepção da musica popular brasileira." [s.n.], 2004. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280468.
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Orientador: Jose Mario Ortiz RamosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Este trabalho analisa as redes de comunicação entre o local e o global no mundo contemporâneo e seu impacto sobre a dinâmica cultura lurbana em contextos periféricos, por meio de um estudo de caso específico:o do movimento manguebeat ou da cena mangue,da cidade do Recife, Pernambuco. Parte-se da hipótese de que os processos de mundialização da cultura acarretam efeitos heterogêneos em diferentes localidades e são vivenciados de maneiras variadas. Assim como se pode considerar que lhes são constantes os efeitos de homogeneização de culturas locais, os fluxos mundializados também podem acarretar processos de resistência ou de reapropriação criativa de elementos de uma cultura internacional-popular, levando à valorização, recriação ou re-significação das culturas locais, no presente caso voltado para as culturas tradicionais pemambucanas. A discussão do tema inclui a descrição do movimento mangue e de alguns elementos de seu desenvolvimento, sua contextualização no campo da música popular contemporânea e da indústria fonográfica em âmbito local e mundial. Além disso, discutem-se os embates em tomo da cultura popular local abordando três dimensões: o contraste entre o mangue e o movimento armorial, as formas de incentivo material e simbólico, e as iniciativas populares de desenvolvimento sociocultural. Algumas questões teóricas envolvidas remetem aos conceitos de cultura global, pós-modernidade, modernidade e tradição, hibridização e indústria cultural
Abstract: The present study analyses local and global communication networks in contemporary world and their impact on the urban cultural dynamics in peripheral contexts, by means of a specific case study: the manguebeat movement or mangue scene, from Recife, Pernambuco, Brazil. The study takes as its starting point the hypothesis that processes of cultural globalization result in heterogeneous effects in different local contexts and are experienced accordingly. Just as much as they constantly have homogenizing effects over local cultures, globalized flows can also result in resistance processes or creative re-appropriation of elements from intemational-popular culture, leading to an increase in value, and the renewal or re-signification of local cultures, in this case, the traditional cultures from Pemambuco. Discussion ofthe subject includes a description of the mangue movement and some elements of its development, contextualizing it with regard to popular contemporary music and the phonographic industry, both at local and globallevels. Moreover, controversies about popular local culture are discussed with reference to three aspects: the contrast between the mangue and armorial movements, means of material and symbolic support, and popular initiatives in social and cultural development. Some of the theoretica1 issues involved are referred to the concepts of global culture, post-modernity, modernity and tradition, hybridization, and cultural industry
Doutorado
Doutor em Ciências Sociais
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Schreiber, Paula Rebecca [Verfasser]. "Sprachliche Kontextualisierung von globalen und lokalen Popkulturen : Hip Hop Linguistics, Resistance Vernacular und italienischsprachiger Rap / Paula Rebecca Schreiber." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2021. http://d-nb.info/123435506X/34.
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Hamrin, Danielle, Lennart Loberg, and Aaltonen Ibb Lampic. "Hur rapporterar musikbranschen sitt hållbarhetsarbete i sin årsredovisning? : En undersökning av musikbranschens hållbarhetsrapporter." Thesis, Linnéuniversitetet, Institutionen för ekonomistyrning och logistik (ELO), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-95268.
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#MeToo-rörelsen tog fart på allvar hösten 2017 då flera anklagelser om sexuella trakasserier från filmproducenten Harvey Weinstein uppdagades. #MeToo-rörelsen är ett uppror från kvinnor, icke-binära och transpersoner som tillsammans delat med sig av sina erfarenheter om sexuellt våld och trakasserier på arbetsplatser och i övriga samhället. Denna rörelse låg till grund för valet av uppsatsens ämne. Ett intresse väcktes för att se om denna rörelse har haft en påverkan hos företags hållbarhetsrapportering. Sedan räkenskapsåret 2017 har det införts obligatorisk hållbarhetsrapportering för en del företag. Det har dock funnits riktlinjer som Global Reporting Initiative (GRI) har arbetat med sedan 1997 för att förbättra hållbarhetsrapportering inom de tre områdena; miljömässig-, ekonomisk- och social påverkan. Tidigare forskning visar på att desto större företagen är desto mer omfattande rapportering kan hittas. Musikbranschen är en snabbt växande industri som influerar personer från all världens hörn genom sina produkter och evenemang. Av den anledning ansågs just denna bransch intressant att forska om. En annan aspekt var även att det sedan tidigare fanns väldigt lite forskning om hållbarhetsrapporter som inriktat sig på musikbranschen, vilket denna uppsats gör. För att undersöka vilka områden i hållbarhetsrapporteringen som företagen lägger vikt vid har vi skapat ett tabellsystem utefter GRI:s riktlinjer. Detta för att på ett djupare plan kunna analysera och se hur duktiga företagen är på att rapportera om de olika områdena. Resultatet av denna forskning visade att det var svårt att finna någon koppling mellan #MeToo-rörelsen och hållbarhetsredovisningen då rörelsen aldrig nämndes vid namn i de hållbarhetsrapporter vi studerade. Däremot såg vi förbättringar av punkter i det sociala perspektivet, vilket indirekt skulle kunna vara ett resultat från #MeToo-rörelsens påverkan. Universal gjorde en tydlig förbättring med 16 %-enheter i det sociala perspektivet medan Sonys ökning var mindre, med 3 %-enheter. Vi kunde också utefter detta tabellsystem jämföra företagens rapportering mellan varandra. Ramen för vårt tabellsystem är även något som företag eller forskare kan använda sig av för att följa upp vad andra branscher eller företag rapporterar inom de olika aspekterna, samtidigt som de kan undersöka ifall de behöver ändra sin rapportering inom något område.The #MeToo movement took off seriously in the fall of 2017 when several accusations of sexual harassment by film producer Harvey Weinstein were discovered. The #MeToo movement is an uprising from women, non-binary and transgender people who have shared their experiences of sexual violence and harassment in workplaces and in other communities. This movement was the basis for the choice of topic on the essay. An interest was aroused to see if this movement had an impact on corporate sustainability reporting. Since the 2017 fiscal year, mandatory sustainability reporting has been introduced for some companies. However, there have been guidelines that the Global Reporting Initiative (GRI) has been working with since 1997 to improve sustainability reporting in the three areas; environmental-, economic- and social impact. Previous research shows that the larger the companies, the more comprehensive reporting can be found. The music industry is a fast-growing industry that influences people from all over the world with their products and events. For this reason, this particular industry was considered interesting to research. Another aspect is that not much has been investigated regarding sustainability reports with focus on the music industry, which this paper does. In order to investigate which areas of sustainability reporting the companies attach importance to, we have created a chart system along the GRI guidelines. With the chart system we could analyze the sustainability report on a deeper level and also see how good the companies were at reporting in different areas. The results of this research showed that it was difficult to find any link between the #MeToo movement and the sustainability report as the movement was never mentioned by name in the sustainability reports we studied. However, we saw improvements in the social perspective, which could indirectly be a result of the #MeToo movement's impact. Universal made a clear improvement with 16% units in the social perspective, while Sony made a smaller increase of 3%. We were also able to compare the companies' reporting between each other with the chart system. The framework based on our chart system is also something that companies can use to monitor what other industries or companies report in the various aspects, as well as investigate if they need to improve their reporting in any area.
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Antonietti, Andre Checchia 1979. "A música da minissérie brasileira no exemplo de anos rebeldes." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284384.
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Orientador: Claudiney Rodrigues CarrascoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa teve por finalidade verificar a articulação dramático-narrativa de 276 inserções musicais presentes na minissérie "Anos Rebeldes", escrita por Gilberto Braga para a Rede Globo de Televisão. A minissérie é um produto de teledramaturgia que teve como princípio de lançamento a necessidade de aperfeiçoamento dos processos de produção que estavam sendo desenvolvidos pela emissora para a telenovela. Por isso é um produto híbrido, que mistura formas de produção da telenovela com formas de produção do cinema. "Anos Rebeldes" foi produzida num momento onde o formato estava solidificado, podendo-se avaliar a influência dos dois modos de produção na inserção musical. O mapeamento das inserções musicais indicou a presença de canções e músicas instrumentais na trilha sonora da minissérie. As canções são divididas em canções presentes na coletânea comercializada pela Globo Columbia, um dos braços da Som Livre, canções não presentes na coletânea comercializada e músicas instrumentais. A música instrumental de "Anos Rebeldes" se subdivide em música original composta para a minissérie, versões instrumentais das canções da trilha e músicas não originais. Como para uma telenovela, a quantidade de inserções de música instrumental é superior à quantidade de inserções de canção. Temos três tipos de inserção acontecendo em "Anos Rebeldes". O primeiro deles é da canção como ambiência de fundo. O segundo é da música instrumental criando o clima da cena, referenciando situações ou personagens. O terceiro são pequenos videoclipes com a canção, onde se incluem painéis que caminham com os fatos históricos narrados pela obra. Foi possível verificar, também, a influência do autor como produtor musical, uma vez que Gilberto Braga tem dupla função nesta minissérie. O resultado obtido é uma maior interação entre música e dramaturgia, acentuando as articulações dramático-narrativas de forma singular
Abstract: This research intends to verify the dramatic-narrative articulation of 276 musical insertions of the mini-serie "Anos Rebeldes", written by Gilberto Braga for Rede Globo de Televisão. The mini-series is a teledramaturgic program that had its principles the need of skills improvement in production of telenovelas1. For this reason, mini-series is a hybrid kind of program that mix televison and cinema ways of production. "Anos Rebeldes" was made in a moment where the format was solidify. It means that is possible to see the influence of the telenovela and movies in the musical insertions. The musical index shows that, as the same in others audiovisual products, mini-serie has songs and instrumental music in their soundtrack. The music in "Anos Rebeldes" can be divided in three groups: the songs which are in the soundtrack selled by Globo Columbia, one of the many companies from Som Livre, the songs which are not in that soundtrack and instrumental music. It is possible do divide the instrumental music group in other three different groups: the one with the original instrumental music made for this mini-series, the one with the intrumental versions of the songs contained in the soundtrack and the one with non original instrumental music. As for telenovelas, the amount of instrumental music insertions are higher than the songs insertions. It was possible to see three different kinds of music insertions in "Anos Rebeldes". The first type is when a song is used as background ambience. The second type is when instrumental music sets the mood of the scene. The third type is smalls videoclips, where some part of the historic facts are showed. Other conclusion was about the role of the author as a music producer. Gilberto Braga worked in both of the roles. The result was a better interaction between music and dramaturg, improving the dramatic-narrative articulation to a higher level. 1 The word TELENOVELA does not have translation in english. The used word, soap opera, does not have the same signification
Mestrado
Fundamentos Teoricos
Mestre em Música
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Cottrell, Duane Coles. "Increasing glottal closure in an untrained male chorus by integrating historical, scientific, and clinical practice into choral voice building exercises." Thesis, connect to online resource, 2009. http://digital.library.unt.edu/permalink/meta-dc-10998.
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Almeida, Adrielly Campos e. "A história da música sertaneja contada pelo fantástico: uma análise do bem sertanejo." Universidade Federal de Goiás, 2018. http://repositorio.bc.ufg.br/tede/handle/tede/8477.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Bem Sertanejo is an attraction of the tv show “Fantástico” that proposes to tell the history of Brazilian country music. Michel Teló is the presenter of the series and invites the public to embark, along with him, on a journey that will retrace the path traveled by the genre, from its origins to the present day, trying to understand how the Brazilian country music is renewed. For this, he gathered, in environments of their respective daily lives, a group of Brazilian country music singers representing different times and talked with them about their life trajectories going through the history of the country music. The conversations were stitched together by information presented by Teló and the journalists of Fantástico, complemented by archive images. This research aimed to navigate this trip, in order to observe and analyze how the history of Brazilian country music is currently told through the series. In the baggage, as a source of information and object of comparison, were the itineraries left by the scholars who have already traveled along this path, and the theoretical contribution of Cultural Studies, which helped to understand better the cultural relations that permeate the genre. At the end of the investigation, through a content analysis, it was possible to infer that Bem Sertanejo followed different paths from those that had been traced by traditional authors like Waldenyr Caldas (1977, 1987) and Rosa Nepomuceno (1999) and approximated to what was traced by Gustavo Alonso (2011, 2015a), but without, however, problematizing the conflicts that involve the genre and its representatives. Thus the story of country music told by the series exhibits a sense of linearity and continuity between the representatives and especially between the idea of tradition and modernity that does not fully reflect the historical reality of the genre but helps to reframe it. It is also in line with popular and mass cultural understandings proposed by Cultural Studies, valuing popular practices as ways of life and, perceiving cultural consumption as a relation of recognition and mediation, as highlighted by Martín-Barbero (1997) and García -Canclini (2011, 1995).
O Bem Sertanejo é um quadro do Fantástico que se propõe a contar a história da música sertaneja. Michel Teló é o apresentador da série e convida o público a embarcar, juntamente com ele, em uma viagem que irá refazer o trajeto percorrido pelo gênero, desde às suas origens até os dias atuais, buscando entender como a música caipira se renova. Para isso, ele reuniu, em ambientes de seus respectivos cotidianos, um grupo de cantores sertanejos representantes de diferentes épocas e conversou com eles sobre as suas trajetórias de vida perpassando a própria história da música sertaneja. As conversas foram costuradas por informações apresentadas por Teló e pelos jornalistas do Fantástico, e complementadas por imagens de arquivo. Essa pesquisa objetivou navegar nessa viagem, sob o intuito de observar e analisar como a história da música sertaneja é contada atualmente por meio da série. Na bagagem, como fonte de informação e objeto de comparação, estavam os roteiros deixados pelos estudiosos que já percorreram esse caminho e, também, o aporte teórico dos Estudos Culturais, que auxiliaram a enxergar melhor as relações culturais que perpassam o gênero. Ao final da investigação, por meio de uma análise de conteúdo, pôde-se inferir que o Bem Sertanejo seguiu caminhos diferentes dos que haviam sido trilhados pelos autores tradicionais como Waldenyr Caldas (1977; 1987) e Rosa Nepomuceno (1999) e se aproximou do que foi traçado por Gustavo Alonso (2011; 2015a), porém sem, no entanto, problematizar os conflitos que envolvem o gênero e seus representantes. Desse modo, a história da música sertaneja contada pela série exibe um sentido de linearidade e continuidade entre os representantes e, especialmente, entre a ideia de tradição e modernidade que não reflete plenamente a realidade histórica do gênero, mas ajuda a ressignificá-lo. Ela também condiz com os entendimentos de Cultura, popular e massivo, propostos pelos Estudos Culturais, valorizando as práticas populares como modos de vida e, percebendo o consumo cultural como uma relação de reconhecimento e mediação, conforme destacaram Martín-Barbero (1997) e García-Canclini (2011; 1995).
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Toledo, Heloísa Maria dos Santos [UNESP]. "Som livre: trilhas sonoras das telenovelas e o processo de difusão da música." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/106230.
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
O objetivo desta tese é a análise da trilha sonora das telenovelas da TV Globo como meio privilegiado de difusão da canção nacional e também internacional no mercado fonográfico brasileiro. Produzida e divulgada pela TV Globo e por sua gravadora Som Livre, a trilha sonora se constituiu, desde o início de sua produção por essas empresas das Organizações Globo, em um produto específico da indústria fonográfica e, ao mesmo tempo, em um espaço de divulgação, por excelência, de artistas, canções e segmentos musicais que, em casos específicos, duraram apenas o tempo em que a respectiva novela da qual eram tema foi exibida. A proposta aqui é, justamente, analisar os impactos dessa relação entre dois dos mais importantes setores da indústria cultural – televisão e indústria fonográfica - ao redor de duas das mais significativas manifestações culturais brasileiras – novela e música, demonstrando como tal relação influenciou significativamente o mercado fonográfico nacional. Dessa forma, a pesquisa aborda o período compreendido entre 1969 (ano de divulgação da primeira trilha sonora produzida pela TV Globo) e 2005, quando, então, a gravadora Som Livre passa a diversificar sua atuação depois de quase duas décadas concentrada quase que exclusivamente na divulgação das trilhas sonoras. Definidos os segmentos, artistas e canções que compuseram o fundo musical da novela em todo esse período, a análise buscou cruzar essas informações com as listagens de discos mais vendidos (elaboradas pelo NOPEM e ABPD) e de músicas mais executadas anualmente nas rádios (de acordo com o ECAD), visando identificar a correlação entre a presença da canção e do artista na trilha com as outras formas de difusão da música. A pesquisa enfatiza, ainda, a importância da trilha sonora como meio de renovação...
The objective of this thesis is analysis of the soundtrack of TV Globo‟s soap operas as a means for promoting the national and also international songs in the Brazilian music industry. Produced and disseminated by TV Globo and its record company, Som Livre, the soundtrack is constituted, since the beginning of its production by such companies of Globo Organizations, in a specific product in the music industry and the same time, in a space for the promoting, par excellence, of artists, songs and musical segments that, in specific cases, lasted only the time that the soap opera, which they were subject of, was displayed. The proposal here is precisely to analyze the impacts of this relationship between two of the most important sectors of the cultural industry - television and music industry – the two of the most significant cultural events in Brazil – soap opera and music, demonstrating how this relationship significantly influenced the National Music Industry. The survey covers the period from 1969 (year of the release of the first soundtrack produced by TV Globo) to 2005, when then Som Livre starts to diversify its operations after nearly two decades focusing exclusively on the dissemination of soundtracks. Defined the segments, artists, and songs that made up the soap opera‟s background music throughout this period, the analysis sought to cross this information with the listings of the best selling albums (produced by NOPEM and ABPD) and the most played songs on the radio during the year (according with ECAD), to identify the correlation between the presence of the song and the artist on the soundtrack with other forms of dissemination of music. The study emphasizes the importance of the soundtrack as a means of renewing musical segments already consolidated and at the same time it also functions as a strategic field of intense diffusion of segments and ephemeral genres.
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Reusch, Kathryn. ""That which was missing" : the archaeology of castration." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:b8118fe7-67cb-4610-9823-b0242dfe900a.
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Castration has a long temporal and geographical span. Its origins are unclear, but likely lie in the Ancient Near East around the time of the Secondary Products Revolution and the increase in social complexity of proto-urban societies. Due to the unique social and gender roles created by castrates’ ambiguous sexual state, human castrates were used heavily in strongly hierarchical social structures such as imperial and religious institutions, and were often close to the ruler of an imperial society. This privileged position, though often occupied by slaves, gave castrates enormous power to affect governmental decisions. This often aroused the jealousy and hatred of intact elite males, who were not afforded as open access to the ruler and virulently condemned castrates in historical documents. These attitudes were passed down to the scholars and doctors who began to study castration in the late 19th and early 20th centuries, affecting the manner in which castration was studied. Osteometric and anthropometric examinations of castrates were carried out during this period, but the two World Wars and a shift in focus meant that castrate bodies were not studied for nearly eighty years. Recent interest in gender and sexuality in the past has revived interest in castration as a topic, but few studies of castrate remains have occurred. As large numbers of castrates are referenced in historical documents, the lack of castrate skeletons may be due to a lack of recognition of the physical effects of castration on the skeleton. The synthesis and generation of methods for more accurate identification of castrate skeletons was undertaken and the results are presented here to improve the ability to identify castrate skeletons within the archaeological record.
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Nguyen, Nhat Nguyen. "Dynamique de l’interaction entre formes culturelles globales et locale : Étude ethnographique multi-site de la consommation musicale chez les jeunes Vietnamiens." Thesis, Lille 2, 2016. http://www.theses.fr/2016LIL20024/document.
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Les recherches en comportement du consommateur sur la globalisation mettent souvent l’accent sur l’interaction dialectique ou dialogique entre une culture globale et une culture locale. Dans cette thèse ethnographique multi-site, nous nous attachons à comprendre l’interaction entre les formes culturelles globales provenant de différentes origines et la culture locale. Nous étudions celle-ci dans le contexte de la consommation de la musique pop sudcoréenne (K-pop) et de la musique pop anglo-américaine (USUK-pop) chez les jeunes Vietnamiens. Notre recherche révèle que l’interaction entre les formes culturelles globales et la culture locale est dynamique, complexe et transformative. Nous identifions deux formes d’interactions culturelles : une verticale où la culture locale et les formes culturelles globales s’opposent et rentrent directement en dialogue ; l’autre horizontale où la culture locale favorise une relation dialectique et dialogique entre les formes culturelles globales. Ces interactions se manifestent dans trois espaces : imaginaire, discursif et corporel. Elles se transforment et se manifestent constamment selon les expériences vécues des consommateurs locaux. Sur le plan théorique, notre travail contribue à prolonger la conceptualisation de l’interaction culturelle entre global et local. Ce travail offre également des implications méthodologiques dans l’étude de la globalisation ainsi que des apports managériaux pour le marketing internationalConsumer research on cultural globalization has paid attention to either dialectical interaction or dialogical interactions between a local culture and a global cultural forms coming from one origin. In this multi-sited ethnographic study, we focus on the cultural interaction between local culture and global cultures coming from different origins. We focus on the Vietnamese youngconsumers’ consumption of Korean pop music (K-pop) and Anglo-American pop music(USUK-pop) as a context. Our study shows that the cultural interaction between global and local is dynamic, complex and transformative. We identify two manifestations of this interaction: one is vertical, in which local culture simultaneously opposes to and dialogues with global cultural forms; another is horizontal, in which local culture stimulates dialectical and dialogical exchanges between global cultural forms. The interactions between global and localoccur in three spaces: imaginary, discursive and corporeal. They transform and performdifferently in consonance with lived experiences of local consumers. Our study extends theconceptualisation of cultural interaction between global and local. It also offers somemethodological reflections to the literature on globalization, as well as managerial implicationsto international marketing
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Schreiber, Paula Rebecca. "Sprachliche Rekontextualisierung in globalen und lokalen Popkulturen. Hip Hop Linguistics und „Resistance Vernacular” im italienischsprachigen Rap. Ricontestualizzazione linguistica di “Popular Culture”. Hip Hop Linguistics e “Resistance Vernacular”. Il caso del rap italiano tra globalizzazione e localizzazione." Doctoral thesis, Università degli studi di Trento, 2019. http://hdl.handle.net/11572/245432.
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Hiphop è il nome di un movimento giovanile che nasce negli anni settanta nei quartieri del Bronx, del Queens e di Harlem a New York City. Negli anni ottanta la musica e la cultura hiphop si diffondono in Italia e si sviluppano in tre diverse generazioni: la prima negli anni 1987-1999, la seconda negli anni 2000-2007, la terza negli anni 2008-2017. Queste generazioni condividono caratteristiche identitarie e valori come il rispetto, la pace, l'uguaglianza. Il lavoro presenta un’analisi linguistica dei testi italiani delle canzoni rap prodotte nel terzo periodo. A tale scopo la tesi è organizzata in sei capitoli. Il primo (La cultura hiphop) inquadra la nascita della cultura hiphop, le sue invenzioni artistiche, la sua globalizzazione e la sua ricezione in Italia. Sono presentati in particolare i/le pionieri/e della scena hiphop italiana e le tendenze che emergono nelle diverse scene locali. Il secondo capitolo (Ricerche sull’hiphop) presenta un quadro generale relativo alle ricerche sull’hiphop compiute negli ultimi trent’anni nell'ambito di più discipline tra cui la filosofia, la pedagogia, la storia dell’arte, l’economia e la sociologia. Uno spazio particolare è dedicato agli studi linguistici sul rap italiano, distinti in tre filoni caratterizzati da una diversa prospettiva di analisi: il rap come varietà linguistica e il rap come discorso. Gli studi sul rap come varietà si concentrano sulle influenze linguistiche di varietà globali, locali, scritte, orali e diafasiche, quelli focalizzati sul rap come codice analizzano invece le scelte linguistiche dei testi come espressioni di identità. Infine gli studi sul rap come genere mettono a confronto tipologie testuali e tipologie discorsive. Il terzo capitolo (Progettazione del corpus) illustra il metodo impiegato per la raccolta e la selezione dei testi, che si basa sui network e sulle piattaforme digitali con riconoscimento nella cultura hiphop italiana. Il riferimento presente negli articoli, nei commenti, nelle interviste e nelle recensioni di network e piattaforme digitali a “artisti riconosciuti nella scena”, “recensioni positive di album o canzoni singole”, “stile stimolante” e “influenza sulla scena rap italiana” ha portato a una selezione di 1000 canzoni rap, datate tra il 2008 e il 2017. Il quarto capitolo (Caratteristiche lessicali e stilistiche) presenta l'analisi di caratteristiche lessicali, di strutture ritmiche e metriche, di figure retoriche e di aspetti testuali che hanno particolare rilievo nel corpus. Dopo una prima riflessione sulla “Frequenza lessicale” nel primo paragrafo viene analizzata la ricorrenza di determinate parole e singoli fenomeni lessicali. Il secondo paragrafo “Struttura ritmica e metrica” affronta poi il tema del cosiddetto flow, che consiste nell'elaborazione delle rime verso schemi complessi e nella loro accentuazione/non-accentuazione a tempo (on-beat vs. off-beat) come mezzo stilistico. Nel paragrafo “Aspetti retorici” viene evidenziato, tramite diversi esempi, l'uso di alcune tendenze stilistiche (addizione, omissione, trasposizione, sostituzione) e forme retoriche tramandante oralmente come il Signifyin(g), caratteristica cruciale dell’African American Vernacular English. Nel paragrafo “Tipologia dei testi” si illustrano alcune modalità discorsive dei testi rap (self-referential speech, listener-directed speech, boasting, dissing, localizing e representing), presenti nelle canzoni del corpus. Nel quinto capitolo viene affrontata la relazione tra aspetti linguistici globali e locali (Un linguaggio “glocale”? – «Quello che siamo è solo spazio, parole»), in cui è adottata la prospettiva del rap e delle varietà linguistiche nei paragrafi “HipHop Speech Community”, “Artistic Code-Mixing – Repertorio di una comunità linguistica hip hop italiano?” e “Oralità e scrittura”. Il mistilinguismo e il code-switching tra dialetti, altri sistemi linguistici e diverse varietà dell’italiano sono degli strumenti fondamentali e distintivi per la struttura dei testi rap italiani e possiedono sia caratteristiche espressive, sia identitarie. Partendo dalla composizione scritta dei testi vengono aggiunti appositamente tipici elementi dell’oralità per dare un’impostazione spontanea, discorsiva e dialogica alla canzone. Questa relazione tra scrittura e oralità si può trovare anche nella tradizione della canzone popolare italiana. Nel sesto e ultimo capitolo del lavoro (Resistance Vernacular – «Ma io penso diverso, ostinato e contrario») vengono esaminati i ricorrenti elementi linguistici che nei testi svolgono una funzione di critica e autocritica, provocazione, espressione identitaria e che permettono di riconoscere i testi delle canzoni rap come parte del genere comunicativo della resistance vernacular. Inoltre vengono analizzati tratti discorsivi e dialogici dei testi studiati e il coinvolgimento del destinatario, variabile a seconda dell’uso e della frequenza di questi tratti. Il primo paragrafo, “Formazione del contesto”, prende in esame sia forme deittiche sia riferimenti intra-testuali e extra-testuali, i quali sono elementi chiave per la comprensione del contesto da parte del destinatario. Nel paragrafo “Dialogicità” sono analizzati gli elementi che marcano un carattere interazionale, come allocuzioni ai destinatari e segnali discorsivi con funzioni interazionali. Nell'ultimo paragrafo, infine, viene descritta il Resistance Vernacular come genere comunicativo del rap italiano. Vengono analizzate quindi le strategie verbali usate per contrastare e contraddire, attraverso la presa di distanza da riflessioni ironiche, esempi provocatori di confronto verbale, suggerimenti di circostanza e per mezzo anche dell’ esplicitazione di possibili identificazioni. Il lavoro fornisce dunque un ampio panorama della produzione di testi rap in Italia nell'ultimo decennio che si inseriscono nell'ambito di due note tradizioni narrative, una locale (la canzone popolare italiana) e l'altra non locale (l'Afro American Vernacular English). L’analisi condotta su un corpus testuale selezionato ed esaminato secondo criteri quantitativi e qualitativi si concentra su aspetti semantici, pragmatici, testuali e infine sull'impiego di diverse varietà linguistiche, che diventano veicolo fondamentale per l'espressione identitaria sia di autori sia di destinatari. Vengono analizzati perciò i principali tratti distintivi che caratterizzano il neo-plurilinguismo, che è forma performativa e comunicativa di un Resistance Vernacular.
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Nentwig, Anne-Cecile. "Sociologie des musiciens traditionnels amateurs : Pratiques musicales et style de vie." Phd thesis, Université de Grenoble, 2011. http://tel.archives-ouvertes.fr/tel-00733932.
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" Musiques traditionnelles", " musiques du monde" ou " musiques tradiporaines " d'aujourd'hui, " musiques folkloriques " d'hier, " musiques de nos racines ", toutes les époques ont été saisies par un intérêt de sauvegarde des musiques populaires, les inscrivant de manière différenciée dans le contexte social. Cette recherche interroge, à partir d'un regard sociologique, l'ordinaire et l'extra-ordinaire des musiciens amateurs, par le prisme leur pratique musicale en tant que moyen de construire une réalité sociale. C'est donc l'articulation de cette pratique avec un ensemble de valeurs et de symboles qui sous-tendra l'ensemble de ce questionnement. A partir de la pratique musicale amateur, il s'agit de comprendre les enjeux sociaux d'un courant musical en pleine expansion. Notre interrogation centrale consiste à savoir si la musique participe à la structuration du monde social, avec ses conventions, son mode de fonctionnement, ses symboles et ses référents. Comment le goût pour un répertoire musical,générateur de symboles et des valeurs va-t-il trouver écho dans des pratiques ordinaires, participant à un processus de bricolage (De Certeau 1990) du quotidien ? En analysant les pratiques musicales en amateur, nous cherchons à décrire les affinités électives (Weber, 1989) existantes entre un courant musical et la construction d'un ordinaire.
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Neubauer, Jürgen. "Nonlinear dynamics of the voice." Doctoral thesis, Humboldt-Universität zu Berlin, Mathematisch-Naturwissenschaftliche Fakultät I, 2005. http://dx.doi.org/10.18452/15343.
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Die Physik der Lauterzeugung (Phonation) wurde mit Hilfe der Theorie der Nichtlinearen Dynamik untersucht. Digitale Hochgeschwindigkeitsaufnamen von Schwingungen in menschlichen und nichtmenschlichen Kehlkoepfen, digitale Bildanalyse, Signalanalyse und Modenanalyse wurden zur quantitativen Beschreibung nichtlinearer Phaenomene eingesetzt. Es wurden nichtlineare Phaenomene bei stimmkranker (pathologischer) menschlicher Lauterzeugung untersucht, wie auch in stimmgesunden Singstimmen und in Kehlkoepfen von nichtmenschlichen Saeugetieren mit Stimmlippen-Membranen. Durch Bifurkationsanalyse eines einfachen mathematischen Modells fuer Stimmlippen mit Membranen konnten beobachtete Lautmuster nichtmenschlicher Saeugetiere qualitativ "nichtlinear gefittet" werden. Die Schwerpunkte dieser Arbeit waren: 1. die Klassifikation von Lautmustern in zeitgenoessischer Vokalmusik, um Erzeugungsmechanismen fuer komplexe Stimmklaenge zu erklaeren, die im kuenstlerischen Kontext vorkommen. Im besonderen war die Rolle der Quelle-Trakt-Kopplung von Interesse; 2. Instabilitaeten in Stimmpatienten, die durch Asymmetrien in einzelnen Stimmlippen wie auch zwischen den Stimmlippen verursacht wurden; 3. dynamische Effekte von duennen, leichten und schwingenden Stimmlippen-Membranen, vertikalen Fortsaetzen der Stimmlippen bei Saeugetieren. Stimmlippen-Membrane finden sich in Kehlkoepfen von Fledermaeusen und Primaten, wo sie einerseits zur Ultraschallerzeugung verwendet werden und andererseits fuer eine grosse Lautvielfalt sorgen. Ein Stimmlippen-Membran-Modell wurde entwickelt, um dieses diverse Lautrepertoire zu reproduzieren. Dieses Modell zeigte zwei Stimmregister. Ueber die Geometry der Stimmlippen-Membrane konnte der subglottale Einsatzdruck minimiert werden und der Druckbereich fuer Phonationen vergroessert werden. Numerische Simulationen demonstrierten, dass das phaenomenologische Stimm-Membran-Modell das Lautrepertoire von Fledermaeusen und Primaten qualitativ reproduzieren konnte.In this thesis, the physics of phonation was discussed using the theory of nonlinear dynamics. Digital high speed recordings of human and nonhuman laryneal oscillations, image processing, signal analysis, and modal analysis have been used to quantitatively describe nonlinear phenomena in pathological human phonation, healthy voices in singing, and nonhuman mammalian larynges with vocal membranes. Bifurcation analysis of a simple mathematical model for vocal folds with vocal membranes allowed a qualitative ''nonlinear fit'' of observed vocalization patterns in nonhuman mammals. The main focus of the present work was on: 1. the classification of vocalizations of contemporary vocal music to provide insight to production mechanisms of complex sonorities in artistic contexts, especially to nonlinear source-tract coupling; 2. pathological voice instabilities induced by asymmetries within single vocal folds and between vocal folds; 3. the dynamic effects of thin, lightweight, and vibrating vocal membranes as upward extensions of vocal folds in nonhuman mammals. In nonhuman mammals, vocal membranes are one widespread morphological variation of vocal folds. In bats they are responsible to produce ultrasonic echolocation calls. In nonhuman primates they facilitate the production of highly diverse vocalizations. A vocal membrane model was developed to understand the production of these complex calls. Two voice registers were found in the vocal membrane model. The vocal membrane geometry could minimize phonation onset pressure and enlarge the phonatory pressure range of the model. Numerical simulations of the model revealed instabilities that qualitatively resembled observed vocalization patterns in bats and primates.
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Juluri, Vamsee Krishna. "Becoming a global audience: Music television in India." 1999. https://scholarworks.umass.edu/dissertations/AAI9950168.
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Satellite television, an often-cited example of globalization, has proliferated in India since 1991. Although primarily a transnational pan-Asian phenomenon, satellite television's growth in India was aided by the rise of local cable providers and the government's economic liberalization policies. Global media corporations however emphasized Indian film based programs over Western programs in a bid to enter the Indian market. This strategy, in conjunction with the music and film industries, has made music television a pervasive phenomenon which includes channels like MTV and Channel V and musk based programs in other channels like Star, Zee, Sun, and ETV. Music television mainly features Indian film songs and pop music, but follows certain global genres and conventions such as the top ten format and VJs. This study situates the social and cultural impact of music television in the experience of globalization in India through a reception study conducted in Hyderabad. The main findings of this study are: (a) the discourses of music television and globalization are meaningful only to young middle class participants and not to older middle class and working class participants; (b) these participants decode music countdowns as enabling representation of the public to a greater extent than was possible under Doordarshan (state television) monopoly; (c) they decode the music video of “Made in India” in emotional/relational terms as a global recognition of India's national culture and perceive globalization as the rise of India to global prominence rather than the influx of global culture into India. While emotional/relational experiences in watching music television are common to all participants, only young middle class participants assume authority as the public and the nation through the orientalistic representations of the same on music television by situating their emotional/relational experiences in discourses of liberalization and globalization. The modern worldview that arises through these discourses is hence characterized as a hegemonic globality which arises in the negotiation between the imperial globality of capitalist modernity and the familial globality of emotional/relational values. The fact, however, that the discourses of imperial globality do not permit recognition of the epistemic authority or globality of emotional/relational values is taken as evidence of cultural imperialism.
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Kvetko, Peter James. "Indipop producing global sounds and local meanings in Bombay /." Thesis, 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1761/kvetkop43407.pdf.
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Bradley, Deborah. "Global song, global citizens? : multicultural choral music education and the community youth choir : constituting the multicultural human subject /." 2006. http://link.library.utoronto.ca/eir/EIRdetail.cfm?Resources__ID=442532&T=F.
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Calle, Simón. "Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect." Thesis, 2012. https://doi.org/10.7916/D893117S.
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This dissertation analyses identity formation through music among contemporary Colombian musicians. The work focuses on the emergence of musical fusions in Bogotá, which participant musicians and Colombian media have called "nueva música Colombiana" (new Colombian music). The term describes the work of bands that assimilate and transform North-American music genres such as jazz, rock, and hip-hop, and blend them with music historically associated with Afro-Colombian communities such as cumbia and currulao, to produce several popular and experimental musical styles. In the last decade, these new fusions have begun circulating outside Bogotá, becoming the distinctive sound of young Colombia domestically and internationally. The dissertation focuses on questions of musical circulation, affect, and taste as a means for articulating difference, working on the self, and generating attachments others and therefore social bonds and communities. This dissertation considers musical fusion from an ontological perspective influenced by actor-network, non-representational, and assemblage theory. Such theories consider a fluid social world, which emerges from the web of associations between heterogeneous human and material entities. The dissertation traces the actions, interactions, and mediations between places, people, institutions, and recordings that enable the emergence of new Colombian music. In considering those associations, it places close attention to the affective relationships between people and music. In that sense, instead of thinking on relatively fixed and consistent relationships between music, place, and identity, built upon discursive or imagined ties, the work considers each of these concepts as a network of relations enmeshed with each other and in consistent re-articulation.
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Heneghan, F. J. "Ireland's music education national debate: rationalization, reconciliation, contextuality and applicability of global philosopies in conflict." Thesis, 2004. http://hdl.handle.net/2263/29304.
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‘The young Irish person has the worst of all European musical “worlds”’. This seminal statement was discovered to be symptomatic of a general malaise. The Music Education National Debate (MEND 1994-1996) was a three-phase response to Deaf Ears?, the report from which the above statement was taken. The eventual aim was to set up a forum for music education which would systematically address the difficulties in Ireland. The scope of MEND was, thus, general, ab initio. Its progress was, however, inhibited by a specific concern, which was fundamental to the whole process of reform. It soon became apparent that consensus on a philosophy of music education to inform evolving strategies would be a sine qua non. Coincidentally, this was a time of debacle in the global field, instanced by the publication of a ‘new’ philosophy of music education (David Elliott’s Music Matters [1995]) which threw down the gauntlet to the undisputed classic - Reimer’s A Philosophy of Music Education [1970/1989]. This challenge amounted to a veritable counterposition and demanded a separate, albeit derivative, study before the MEND Report could be completed. This study was to become the substance of this thesis. The aim of this work is to analyse these polar philosophies with a view to reconciling them. Beginning with some commonly held values about music education, the relevance of American music education practice to a wide range of global systems is suggested. The dominance of a western art (music) mentality is called into question by giving prominence to multiculturalism and popular music. Music Education as Aesthetic Education (Reimer) is compared with the praxial approach (Elliott). They yielded to rationalization, albeit posing residual questions of balance, relevance, and time constraints within the curriculum. The indispensability of performance and listening as a complementary pair is re-established. The ascendancy of artistic criteria in defining the music programme is affirmed. Finally the failure of the universal philosophy hypothesis is redeemed by sketching the compromises necessary to convert it to the adaptability of the contextual idea, leading the study to a conclusion of general, rather than specific, application. Note from the UPeTD Team: The final MEND (The Music Education National Debate) report can be obtained from the Academic Information Service, University of Pretoria, email: upetd@up.ac.za. The report is available as an Adobe Acrobat .pdf document. There are hyperlinks embedded within the document to facilitate internal navigation. The Appendix at the end (which is an index of the MEND debates and presentations) also contains hyperlinks.Thesis (DMus)--University of Pretoria, 2005.
Music
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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.