Dissertations / Theses: 'Music and geography'

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Keough, Sara Beth. "The Geography of Community Bands in Virginia." Thesis, Virginia Tech, 2003. http://hdl.handle.net/10919/32308.

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In the first half of the twentieth century in Virginia, the town band was a popular concert venue and sometimes a symbol of community pride. Originally, community bands faced few competitors for entertainment popularity, but the advent of movie theaters in the 1930â s, and eventually television in the 1950â s, challenged the bandâ s former role. Attendance decreased at band concerts and the community space that bands had occupied was allotted for other uses. Despite this decline, the town band survived. Virginia is home to at least 34 community bands today. This study presents a geographic analysis of present day community bands in Virginia. I visited 25 active bands and administered a twenty-five question, self-designed survey to 900 band members (98% response rate). I also personally interviewed conductors and band presidents. Members reported demographic information and the distances and time that they traveled. I also explored how band members perceive their role in the community based on their participation in the community band. I then examined the variation of responses across the state. Results show that bands in Virginia consist primarily of educated, retired individuals with previous musical experience. While traveling the same distance, band members spend more time traveling in regions with large metropolitan areas than in rural regions. Finally, although band members in rural areas received higher sense of community scores than those in metropolitan areas, the scores for both areas were encouragingly high. The results indicate that although regional variations exist for the variables of travel and sense of community, community music in Virginia has a solid rate of participation, and community bands will continue to serve their respective regions in the state. Master of Science

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Samuels, Richard. "A multi-level perspective analysis of the change in music consumption, 1989-2014." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/116065/.

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This thesis seeks to examine the historical socio-technical transitions in the music industry through the 1990s and 2000s which fundamentally altered the way in which music is consumed along with the environmental resource impact of such transitions. Specifically, the investigation seeks to establish a historical narrative of events that are significant to the story of this transition through the use of the multi-level perspective on socio-technical transitions as a framework. This thesis adopts a multi-level perspective for socio-technical transitions approach to analyse this historical narrative seeking to identify key events and actors that influenced the transition as well as enhance the methodological implementation of the multi-level perspective. Additionally, this thesis utilised the Material Intensity Per Service unit methodology to derive several illustrative scenarios of music consumption and their associated resource usage to establish whether the socio-technical transitions experienced by the music industry can be said to be dematerialising socio-technical transitions. This thesis provides a number of original empirical and theoretical contributions to knowledge. This is achieved by presenting a multi-level perspective analysis of a historical narrative established using over 1000 primary sources. The research identifies, examines and discusses key events, actors and transition pathways denote the complex nature of dematerialising socio-technical systems as well as highlights specifically the influence different actors and actor groups can have on the pathways that transitions take. The thesis also provides a broader contribution to the understanding of dematerialisation and technology convergence.

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Forsberg, Hansson Love. "The Sound of Globalization : Mapping the Dynamics in Contemporary Urban Landscape of Concert Venues." Thesis, Stockholms universitet, Kulturgeografiska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-147290.

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This study compares and describes the urban landscape of concert venues in Berlin and Stockholm with a focus on popular music. It features research of spatial patterns among concert venues, gathered from participant observations and semi-structured interviews with agencies and officials in the music scene. These patterns make us want to understand the relationship between venues, why they sometimes agglomerate by size in a more gentrified environment. By comparing the spatial patterns with music export data, an illustration of globalization is developed. Further, this study connects to the political controversy of the contemporary view on music, as a source of economic growth or not. The central concept of analysis is the division between high profitable hit music and conventional music. Theoretical perspectives of global economic system is the base for the hypothesis that music is not a homogeneous entity. It is rather polarized in two spheres depending on the status in the global economic system. This study suggests thathit music is a cultural product built on immaterial values and place branding for political agendas, rather than a cultural expression or genre of music like any other. This part of the music economy show specific patterns of localization.

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Thompson, Deborah J. "PERFORMING COMMUNITY: THE PLACE OF MUSIC, RACE AND GENDER IN PRODUCING APPALACHIAN SPACE." UKnowledge, 2012. http://uknowledge.uky.edu/geography_etds/1.

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Traditional, participatory music is a powerful medium through which people express and shape their ideas about identity, mobility, social relations, and belonging, and through which people are in turn shaped. The everyday cultural practices of playing, sharing, and dancing to traditional music, as well as discussions about the nature of traditional music and production of events involving traditional music, all work to construct the region called Appalachia. Through this dissertation, I seek to answer some simple questions that have complicated answers involving place, identity, power, and social relations, with economic, social, and emotional ramifications: Who gets to be an Appalachian musician? How is this accomplished? Who gets to decide? Using a social constructionist theoretical base and drawing on such literatures as cultural geography, music geography, musicology and ethnomusicology, Appalachian studies, and critical regionalism, I employ ethnographic techniques, including participant observation, semi-structured interviews, and discourse analysis to understand the workings of old time music and the self-understanding of musicians that play and sing traditional music in eastern Kentucky, a core area of Appalachia. This dissertation shows that vernacular roots music in eastern Kentucky is both an inclusive and a contested phenomenon. In describing and analyzing the spaces for music in Appalachia, the old-time community in eastern Kentucky, the dynamics of festival hiring negotiations, and interviews with white and African American musicians, both male and female, I show how Appalachian space is produced simultaneously on many different scales. This construction is a dialectical process, articulating between the power expressed on a micro scale between individuals and the power used by individuals and institutions to define the region through representation. This dissertation demonstrates two main processes: how Appalachian space is negotiated and produced through interactions at jam sessions and other events, and how the musicians perform community in these interstitial moments. Contributions of this dissertation include attention to micro scale interactions and embodiment as a key component of spatial production, participant observation as a research method in music geography, and increased understanding of the performance of race and gender in cultural and spatial production.

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Watson, Allan. "Sound practice : a relational economic geography of music production in and beyond the recording studio." Thesis, Loughborough University, 2012. https://dspace.lboro.ac.uk/2134/10432.

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This thesis develops a relational geography perspective on creative work and practice, with a specific focus on the recording studio sector. Drawing on an extensive social network analysis, a questionnaire survey, and nineteen semi-structured interviews with recording studio engineers and producers in London (UK), the thesis reveals how recording studios are constituted by a number of types of relations. Firstly, studios are spaces that involve a material and technological relationality between studio workers and varied means of production. Studios are material and technological spaces that influence and shape human actions and social inter-actions. Secondly, studios are sites of relationality between social actors, including engineers, musicians and artists. The thesis reveals how the ability to construct and maintain social relations, and perform emotional labour , is of particular importance to the management of the creative process of producing and recording music, and to building the individual social capital of studio workers. Finally, the thesis argues that studios are sites of changing employment relations between studio workers and studio as employer. In the recording studio sector, a complex and changing set of employment practices have re-defined the relationship between employee and employer and resulted in a set of employment relations characterised by constant employment uncertainty for freelance studio workers. It is argued that the three types of relations revealed in this thesis, manifest at a multiplicity of geographical scales, construct recording studios as distinctive social and economic creative spaces. In conclusion, it is argued that a relational perspective is central to progressing geographical accounts of creative work and of project-based industries in general.

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Maalsen, Sophia. "The Life History of Sound." Thesis, The University of Sydney, 2013. http://hdl.handle.net/2123/10588.

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Abstract In recent years, the emergence of cultures and practices of music-making associated with new music-making technologies has generated controversy and conflict, being both variously embraced and vilified. Just as some are determined to explore the possibilities that these technologies afford for the re-use and re-circulation of music, others have been determined to regulate such practices through aggressive assertions of ownership over sounds. Central to these controversies is a deeper question concerning the nature of musical sounds and their relationship to the people who produce and work with them. In order to explore this issue, this thesis develops a new conceptual framework for thinking about the biographies of musical sounds. Drawing on concepts from material culture studies and feminist philosophy, the thesis critiques traditional conceptions of musical sounds as the property of a possessive individual, and offers an approach that seeks to better appreciate the complex relationships between sounds and human agents. This framework is applied and further developed across a series of case studies, which take an ethnographic approach to following the eventful biographies of selected pieces of music. These ethnographies trace the ways in which legal, ethical, economic and cultural concerns about the ownership of music are navigated in the practices of people who sample, collect and re-issue music. In tracing how these practitioners work with musical sounds, the research also uncovers the ways in which musical sounds work on those practitioners. In the process, these musical sounds develop a life of their own. Through these ethnographies, the thesis traces the life histories of musical sounds and demonstrates the ways in which those life histories are ‘multibiographical’, drawing together a range of actors and distributing their personhood and agency across space and time. The thesis concludes with a discussion of how an appreciation of multibiographical sound could inform new approaches to the production and regulation of musical sounds in the digital age that are based on connection rather than control. This recognises that music making changes as new technologies influence its production and accommodates the distribution of both sound and human agency through the reuse of sound recordings that digital technologies encourage.

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Thirlwall, Stephen Lawrence Carleton University Dissertation Geography. "Musical landscape: a definition and a case study of musical landscape in its contribution to the development of Quebecois identity." Ottawa, 1992.

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Lundequist, Per. "Spatial clustering and industrial competitiveness : Studies in economic geography." Doctoral thesis, Uppsala : Department of Social and Economic Geography, Uppsala University, 2002. http://publications.uu.se/theses/99-2002-0429140456/.

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Nooshin, Laudan. "The processes of creation and recreation in Persian classical music." Thesis, Goldsmiths College (University of London), 1996. http://openaccess.city.ac.uk/4149/.

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This thesis presents a critical examination of the processes of creativity in the performance of Persian classical music. Using current literature, information from musicians, and detailed musical analyses, the thesis endeavours to reach an understanding of what creativity means in the Persian context, and to examine the ways in which creativity takes place and the factors which affect it. A consideration of the nature of human creativity in general is followed by a critique of the concepts and terminology of creativity used within (ethno)musicology. Several areas are subsequently explored for their potential contribution to an understanding of creative musical processes. There is a consideration of possible parallels between musical and linguistic creativity, as well as an exploration of theories about the psycho-physiological determinants of musical creativity. With specific reference to Persian classical music, various aspects of the basic canonic repertoire, the radif, are examined, and this is followed by a discussion of the processes by which the radif is learnt, this being a crucial stage in laying the foundations of musical creativity. There is also a consideration of the concepts of creativity in this musical tradition, as well as changes to such concepts in recent years. The musical analyses focus on a number of performances and versions of the radif, primarily from dastgah Segah. There is an examination of the sectional organisation of both performances and radifs, as well as of compositional procedures, typical melodic patterns, and including specific focus on the ways in which material from the radif is treated in performance. The aim is to comprehend how it is that musicians use the knowledge acquired during training to present unique expressions of the musical tradition at every performance occasion. The thesis seeks to contribute to a greater understanding of generative musical processes and ultimately, towards a better understanding of the nature of human creativity.

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Normann, Andrew J. "Art is Not a Crime: Hip-Hop, Urban Geography, and Political Imaginaries in Detroit." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1503059494063247.

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Gunnervall, Anders. "Motives of potential event visitors : A pre-event case study of the Storsjöyran music festival." Thesis, Mittuniversitetet, Institutionen för samhällsvetenskap, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-14090.

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The purpose of this thesis was to study potential event visitors and their motives to either attend or not attend an event. A pre-event case study of the music festival Storsjöyran was conducted and 701 potential visitors’ motives were studied through a web-based survey containing both questions with 5-point Likert-type scale and open ended questions. The main motive for visiting Storsjöyran music festival was to experience the core program (live music), but socializing and to experience the special atmosphere were also important factors. Motives for not visiting the festival were a question of costs exceeding benefits. High costs did not solely mean high ticket prices but also included the effort to travel and the risk of what an event can bring in terms of negative experiences, mainly in the confrontation with other festival visitors. The results also support previous findings that motives differ between visitors to the same event. Respondents’ age, origin and links to the place where the festival is held were found to be useful segmentation factors according to the festival Storsjöyran. The organizers were recommend to continue to design the festival for music experiences, but also to consider the social interactions between visitors and design the event for more satisfying experiences related to this area.

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Ingham, James. "Sound worlds and everyday space." Thesis, University of East London, 1999. http://roar.uel.ac.uk/1251/.

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The starting point for this project was my MPhil thesis (University of Leeds, 1995) Aural Geographies. An Investigation of Sound In Everyday Space, which has as its subject matter the concept of sound in everyday space. The MPhil thesis argued that in considering everyday space more attention should be paid to the aural experience. The argument did not try to `bolt on' what is heard to what is seen. Rather it contemplated the intricate relationships between the visual and aural senses within everyday space. Following from the work which was undertaken for the MPhil it became clear that further and more substantial research into the area of sound and space was merited. This research has been carried out at the University of East London as a PhD programme, under the supervision of Professor Andrew Blake, who introduced me to numerous aspects of music analysis. The thesis acknowledges and expands upon the work on sound carried out by the limited number of social theorists who have addressed this issue such as Adorno, Attali and in particular Schafer and his work on soundscapes. There is discussion throughout of the inspirational ideas of John Cage. The aim of the thesis, which is explored through many inter-related pieces of analysis and empirical work, is to expand upon our knowledge of the role of sound in everyday life. The thesis contributes towards knowledge by providing many new insights about the soundworld and its place in human experience. As befits a thesis which centres on the aural, the research methods are also innovatory allowing the readers/listeners themselves to experience sound worlds. The thesis therefore relies 111 heavily on newly-developed new recording/mapping techniques, using high quality audio recordings which are then used to produce digital sound maps in the form of hypermedia made available on a CD-ROM. The thesis demonstrates how these maps enable us to comprehend some of the complex sensory processes associated with sound worlds. Sound worlds are the main focus here, and in particular the way in which sound worlds are constructed by individuals. Where the MPhil examined sound in public spaces, this thesis further reflects on that investigation before going on to investigate the sound worlds generated in the living room (a key everyday space). This enables us to hear/see how the sound worlds associated with the living room link up with other everyday spaces. The contention is that sound is crucial for the organisation and operation of everyday space Though the thesis is persuasive in indicating the importance of the aural in everyday life, the question arises as to how the relationship between the aural and the visual can be represented in academic work, and especially in the discipline of geography. This question is addressed in the thesis by the presentation of a number of specially developed aural terms, such as `sonic order' and `sound maps'. The thesis describes how people organise their activities around sonic order, and explains how conflicts arise over sonic order. The thesis concludes that sound maps are present in everyday space and that people use them to navigate everyday space. This sensitivity to sound spaces generates geographical (aur/imagin)ations, which are in turn subject to study from within the discipline of geography.

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Hicks, Jonathan Edward. "Music, place, and mobility in Erik Satie's Paris." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:b5cca39d-7479-4a12-91de-e303a285c81c.

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Erik Satie (1866-1925) lived, worked, walked, and died in Paris. The key locations of his career – all within a single urban region – are well known and well researched. Yet he has often been presented as an eccentric individualist far removed from any social or geographical context. This thesis seeks to address – and redress – the decontextualisation of Satie’s career by re-imagining his music and biography in terms of the places and mobilities of turn-of-the-century Paris. To that end, it draws on a range of documentary and fictional material, including journalistic and scholarly reception texts, illustrated musical scores, chanson collections, contemporary visual culture, and cinematic representations of the people, place(s), and period(s) in question. These diverse primary and secondary sources are discussed and interpreted via a set of on-going debates at the intersection of historical musicology, cultural history, and urban geography. Some of these debates can be traced through existing research on the geography of music. Others are more local to this project and derive their value from suggesting alternative approaches to familiar problems in the study of French musical modernism. The main aim throughout is to develop a better understanding of the relations existing between Satie’s musical life, his compositional strategies, and the changing urban environment in which he plied his trade. Chapters One and Two focus on the working-class suburb of Arcueil and the ‘bohemian’ enclave of Montmartre. Chapters Three and Four are organised thematically around issues of musical humour and everyday life. By using the particular example of Satie’s Paris, the thesis proposes that more general avenues of enquiry are opened up into music and the city, thus demonstrating the potential benefits of incorporating the urban-geographic imagination into historical musicology more broadly, and bringing musicological thinking to bear on inter-disciplinary discussions about space, place, and mobility.

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Hallencreutz, Daniel. "Populärmusik, kluster och industriell konkurrenskraft : En ekonomisk-geografisk studie av svensk musikindustri." Doctoral thesis, Uppsala University, Department of Social and Economic Geography, 2002. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-2030.

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The economic importance of design-intensive and cultural-products industries has grown in recent decades. One case in point is Sweden, where internationally competitive industries have emerged in areas such as multimedia, fashion, and music. During the 1990s, research in economic geography and related disciplines concerned with the link between geographical location and competitive advantage has found an important source of inspiration in the cluster approach. The thesis examines the relationship between spatial clustering and industrial competitive-ness by undertaking a series of empirical studies that explore various dimensions of the Swedish music industry. The thesis demonstrates that the Swedish music industry embraces a multitude of actors in a complex, spatially clustered production system characterised by dense social networks, which transcend individual firms. Processes and mechanisms that have enhanced the creation and diffusion of strategic knowledge as well as co-operative competition further promote the competitiveness of this cluster. Moreover, the thesis demonstrates that it is necessary to carefully consider the relation between the local milieu and the global music industrial production and distribution system in order to fully understand competitiveness in the music industry. Finally, the thesis examines how the cluster concept has been put into practice in Swedish industrial and regional policies concerning cultural industries.

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Pappas, Nikos A. "Patterns in the Sacred Music Culture of the American South and West (1700-1820)." UKnowledge, 2013. http://uknowledge.uky.edu/music_etds/12.

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This narrative chronicles the dissemination of sacred music from the eastern seaboard to the West and South spanning a time frame from the colonial era to the latter part of the Early Nationalist Period (1700-1820). Musical culture in its migration away from the eastern seaboard also parallels the greater western and southern expansion of the United States from its initial configuration of localized regional subgroups to the beginnings of a larger national identity. From this conceptual base, sacred music becomes a vehicle for understanding not only religious and musical changes over time, but also the broader maturity of a nation. Focusing on this period allows for inquiries both into the development of hymnody in the Middle Atlantic, and the subsequent developments of the West and South. These chronological delimitations allow for a discussion of musical practice beginning with formative sacred music developments and continuing to the incorporation of techniques shaped by reform-minded musicians from the eastern seaboard. The following topics guided the construction of this thesis: explicating how the Middle Atlantic region shaped compositional trends, aesthetic, and performance practice of the American West and South; identifying the various southern cultures as understood by eighteenth and nineteenth-century southerners and their application to sacred music practice; understanding how nineteenth-century Americans distinguished between the West and the South; understanding how southern and western music relates to individual denominations and cultures within these areas; and understanding performance practice common to the evangelical and non-evangelical branches of individual sects. Identifying patterns of development in American sacred music of the South and West involves documentation of performance practice, denominational aesthetics, and tunebook bibliography. The study of eighteenth-and-nineteenth-century material by twentieth-and-twenty-first-century writers has falsely defined cultural borders of this region according to a post-bellum conceptualization of the boundaries of the North and South. Prior to 1850, writers defined their borders according to a different set of geographic boundaries than today. Consequently, this thesis differs in terms of geographic and cultural definitions of the North and South from current scholarship because of this writer’s application of colonial and Early Nationalist understandings of American culture.

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Polli, Andrea. "Communicating air : alternative pathways to environmental knowing through computational ecomedia." Thesis, University of Plymouth, 2011. http://hdl.handle.net/10026.1/889.

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This dissertation, Communicating Air: Alternative Pathways to Environmental Knowing through Computational Ecomedia, is the culmination of an art practice-led investigation into ways in which the production of ecomedia may open alternative pathways to environmental knowing in a time of urgent climate crisis. This thesis traces the author’s artistic, personal and political development across the period of study and presents an extended argument for greater public engagement with weather and climate science, greater public and private support for long-term collaborations between media art and climate science, and increased public open access to global weather and climate monitoring and computationally modelled data.

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Soares, Karen da Silva. "O Ensino da geografia permeando territorialidades juvenis pela música." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/185253.

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Esta pesquisa tem como foco analisar as territorialidades juvenis e suas representações pelo viés da música, para propor possibilidades no desenvolvimento de práticas pedagógicas nas aulas de Geografia. Assim, a música como artefato cultural da juventude foi analisada para compreender as interpelações dessa forma de expressão na constituição dos sujeitos jovens, estudantes no primeiro ano do Ensino Médio, na Escola Nísia Floresta da rede pública estadual no município de Viamão, no Rio Grande do Sul. Trilhar esse percurso investigativo justifica-se pela necessidade de aproximação entre as práticas escolares e os jovens estudantes, os quais têm suas identidades cada vez mais fluidas no sólido espaço escolar, constituído na Modernidade, sendo importantes práticas escolares que produzam novos e diferentes olhares ao que está posto. A pesquisa centra-se na articulação teórica entre os Estudos Culturais e a Geografia, com base nos conceitos de: cultura, representação, identidade juvenil, territorialidades. Caracteriza-se por uma análise cultural de cunho etnográfico que se utiliza das ferramentas da bricolagem pela possibilidade de entretecimento no decorrer do percurso investigativo. A análise está direcionada para entender como esses jovens são interpelados pela música em seu cotidiano na periferia e suas formas de manifestação da musicalidade para mediar análises espaciais contextuais que possam estabelecer pertencimentos territoriais. Dentre os resultados, destaca-se a potência em possibilitar práticas pedagógicas em que jovens estudantes tornem-se autores com autonomia criativa, elaborando proposições sobre um tema que conhecem: seu lugar; pois vivenciam seu território, onde atuam como sujeitos ativos e muitas vezes passivos nas transformações que modificam essas paisagens, num espaço fluido pelo qual a Geografia pode (re) significar olhares. This research goals to analyze the juvenile territorialities and their representations by the music bias, to propose possibilities in the development of pedagogical practices in the classes of Geography. Thereby, music as a cultural artifact of youth was analyzed to understand the interpellations of this form of expression in the constitution of the young students subjects in the first year of High School, in the Nísia Floresta School of the State Public Network in the municipality of Viamão, Rio Grande do Sul state. This research path is justified by the need to bring school practices closer to young students, who have their identities increasingly fluid in the solid school space, constituted in Modernity, being important school practices that produce new and different views to the which is set. The research focuses on the theoretical articulation between Cultural Studies and Geography, based on the concepts of: culture, representation, youth identity and territorialities. It is characterized by a cultural analysis of an ethnographic character that uses DIY (do-it-yourself) tools for the possibility of interweaving during the course of the research. The analysis is directed to understand how these young people are interpellated by the music in their daily life in the periphery and their forms of manifestation of the musicality to mediate contextual spatial readings that can establish territorial belongings. Among the results, emphasizes the power to make pedagogical practices where young students become authors with creative autonomy, elaborating propositions about a theme they know: their place; because they live in their territory, where they act as active and often passive subjects in the transformations that modify these landscapes, in a fluid space through which Geography can (re) meaning looks.

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Pereira, Carolina Machado Rocha Busch. "Geografias de mundo reveladas nas canções de Chico Buarque." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8136/tde-19112013-100451/.

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De natureza essencialmente teórica e bibliográfica, a tese consiste em refletir sobre as geografias de mundo reveladas nas letras das canções de Chico Buarque. Uma vez que a música opera com emoções e desejos, ela influencia comportamentos, e não só transforma a mobilidade espacial, mas também é por ela transformada. As letras das canções de Chico Buarque são portadoras de sentidos, revelam o mundo e possuem potência geográfica para dialogar com o mundo, o lugar e o cotidiano a partir das relações que emolduram a vida. Os encontros geográficos com as letras das canções são possibilidades de leitura da obra do artista pela perspectiva geográfica humanista. Sujeito e mundo coexistem e o lugar, que é o espaço com o qual o sujeito estabelece relações, possui uma gama de significados e valores que são inseparáveis da experiência de quem os vivencia. O lugar tem um sentido e constitui parte essencial da existência humana. Consequentemente, a experiência no mundo-lugar está ligada à forma como se percebe o mundo a partir do espaço-tempo-sentido. This thesis is essentially theorethical and bibliographical. It consists of reflecting on the geographies of the world shown in the song lyrics by Chico Buarque. Once music deals with emotions and desires it influences behaviors. It not only changes the spatial mobility, but also is changed by spatial mobility. Chico Buarque´s lyrics convey meanings and bring the world to light. They also have geographical strength to dialogue with the world, places and everyday life, starting from the relations that make up life. Geographical encounters with the lyrics make the reading of Chico Buarques work possible from a humanistic geographical perspective. The subject and the world coexist. The place, that is the space with which the subject has relations with, has a lot of meanings and values that are inseparable from the subject who experiences them. The place has a meaning and constitutes an essential part of the human existence. Consequently, the experience in the place-world depends on the way by which the individual perceives the world from the space-time-sense.

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Panitz, Lucas Manassi. "Redes musicais e [re]composições territoriais no Prata: por uma Geografia da Música em contextos multi-localizados." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/164621.

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A presente tese objetiva compreender as relações entre as redes musicais no espaço platino e suas repercussões culturais / identitárias e territoriais. Tal pesquisa foi desenvolvida entre 2009 e 2016, acompanhando músicos independentes da Argentina, Uruguai e Brasil, tais como Kevin Johansen, Pablo Grinjot, Vitor Ramil, Marcelo Delacroix, Richard Serraria, Daniel Drexler, Jorge Drexler, Dani López, Ana Prada, dentre outros. A partir de um desenho de pesquisa multi-localizado, buscou-se entender como se deu o processo de formação das redes musicais transfronteiriças entre os citados países, bem como se inventariou as representações do espaço através da música e as práticas musicais e políticas culturais que sustentam essas representações. A construção do argumento de tese se deu em quatro eixos. O primeiro é consagrado ao reconhecimento de uma Geografia da Música, presente e ativa no pensamento geográfico pelo menos desde a década de 1920. Realizou-se pesquisas sobre os fundamentos do interesse geográfico pela música, no Brasil e no mundo. O segundo dedicouse a construir a noção de espaço platino, a partir da consideração de distintas realidades geográficas sobrepostas, sejam elas de manifestação mais físico-natural (Bacia do Rio de Prata, Pampa) ou humana (Conesul, Mercosul). O terceiro se divide em duas partes: a primeira dedicada às representações geografizantes, analisou as representações do espaço platino, compreendendo-o como uma região-paisagem; a segunda dedicado às representações territorializante, focou na formação das redes, das práticas musicais e políticas culturais, desvendando, assim, o território. O quarto, por fim, advoga que as redes musicais em questão promovem uma [re]composição territorial da cultura no Prata, transculturando referenciais brasileiros e platinos, tradicionais e contemporâneos, misturando idiomas e gêneros musicais. Nesta [re]composição territorial, cidades como Porto Alegre, Pelotas, Buenos Aires, Montevidéu, e o litoral de Rocha, apresentam funções distintas e complementares, e apontam para uma rede de produção cultural densa, colada a um imaginário geográfico transfronteiriço. This dissertation has the objective of advancing the understanding of the relations between music networks in the Platino space and their cultural, identitary, and territorial repercussions. Dissertation research was conducted between 2010 and 2016 following independent musicians from Argentina, Uruguay, and Brazil, such as Kevin Johansen, Pablo Grinjot, Vitor Ramil, Marcelo Delacroix, Richard Serraria, Daniel Drexler, Jorge Drexler, Dani López, Ana Prada, among others. Based on a multi-sited research design, I studied the processes of network formation across national borders and how representations of space, and cultural practices sustaining those representations, are described through popular songs. My central thesis is sustained by three axes. The first is dedicated to the discussion of the contribution of geography of music, which has been actively present in the geographical thought since the 1920's. For this purpose, I describe the interest of geographers in the question of music in Brazil and other parts of the world. For the second axis, I construct the notion of Platino space based on the description of distinctive but superimposed geographic realities, either physiconatural (such as Rio de la Plata basin, the Pampa) or sociocultural and economic (such as the Conesur or the Mercosur). This elaboration is advanced through the analysis of representations of the Platino space understood as landscape-region, and of terrorializing representations forming networks of musical and other cultural practices to constitute a territory. As a third axis and concluding argument, I argue for the importance of music networks for the territorial recomposition of the Platino Space, trans-culturing Brazilian and Platino as well as traditional and contemporary references, mixing idioms and music genres. In this process of territorial recomposition, I demonstrate how cities such as Porto Alegre, Pelotas, Buenos Aires, Montevideo, and the coast of Rocha have distinctive but complementary functions, describing a network for intense cultural production which is constitutive of a contemporary, transboundary geographic imaginary. Esta tesis busca comprehender las relaciones entre las redes musicales del espacio platense y sus repercusiones culturales / identitarias y territoriales. Dicha investigación ha sido desarollada entre 2010 y 2016, acompañando los músicos independientes de Argentina, Brasil y Uruguay, tales como Kevin Johansen, Pablo Grinjot, Richard Serraria, Marcelo Delacroix, Daniel y Jorge Drexler, Dany López, Ana Prada – entre otros. Se ha partido de un diseño de investigación multi-localizado, buscando entender como se dio el proceso de formación de las redes musicales transfronteirizas entre dichos países, así como se hizo un inventario de las representaciones del espacio a través de la música y de las prácticas musicales y políticas culturais que las sostienen. La construcción del argumento de tesis se dio en cuatro ejes. El primero reconoce la Geografia de la Música, presente y activa en el pensamiento geográfico despúes de la década de 1920. Se realizó investigaciones sobre los fundamentos del interés geográfico por la música, en el Brasil y en el mundo. Segundo, se dedicó a la construcción de la idea de espacio platense, partiéndose de la consideración de distintas realidades geográficas superpuestas, sea de manifestación físico-natural (Cuenca del Río de la Plata, Pampa) o humana (Conosur, Mercosur). Tercero se presenta un gran capítulo partido en dos partes: el primero, dedicado al estudio de las representaciones geografizantes, analisó las representaciones del espacio platense, comprehendido como una región-paisaje. El segundo, dedicado à las representaciones territorializantes, plantea la formación de las redes, de las prácticas musicales y las políticas culturales, revelando así el territorio. Cuarto, cómo argumentos conclusivos, propone que las redes musicales estudidadas promueven una [re]composición territorial de la cultural en el Plata, mezclando referenciales culturales brasileños y rioplatenses, tradicionales y contemporáneos y lenguajes. En este [re]composición territorial, ciudades como Porto Alegre, Pelotas, Buenos Aires, Montevideo y el litoral de Rocha, presentan funciones distintas y complementares, y apuntan para una densa red de producción cultural, pegada a un imaginario geográfico transfronterizo.

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Wilkinson, Catherine. "Connecting communities through youth-led radio." Thesis, University of Liverpool, 2015. http://livrepository.liverpool.ac.uk/2037460/.

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This thesis explores the extent to which, and the ways in which, KCC Live, a volunteer youth-led community radio station situated in Knowsley, neighbouring Liverpool, UK, provides a space for young people to find and realise their voices. The body of geographical work on radio has predominantly focussed on large-scale geopolitical questions at the international scale. In particular, there has been a deficit of research considering community radio in the UK. Research from other countries is not easily transferable, due to the specific regulatory paradigms in different countries. This study takes a step towards remedying the neglect of community radio in geographical research in the UK. This research project adopts a participatory design in collaboration with young people at KCC Live. Mixed methods were employed, including: 18 months of observant participation; interviews and focus groups with volunteers; interviews with management at KCC Live and Knowsley Community College; a listener survey, listener diaries, and follow-up interviews. Accompanying this thesis are two co-produced audio artefacts: an audio documentary named ‘Community to me is…’, which explores young people’s musings on community, and a three-part radio series called ‘What we found’, which discusses the findings of this research in audio form. First, my research provides insight into a twofold vision of youth voice as both restricted and creative concurrently. This thesis shows that community radio is not a cure-all solution for disenfranchised and silenced young people, as young people at KCC Live work within a pre-censored idea of speech. Second, this thesis finds that young people conceptualise the KCC Live community in multiple ways. These include: friendships which constitute communities of choice; geographic communities within specific locales; the functioning of KCC Live as a community of practice; imagined communities of listeners; and virtual communities, formed through use of social media. This research therefore advances recent debates that shift notions of community away from static place-based understandings to more networked approaches. Third, this thesis demonstrates that young people are capable of learning skills, locating resources and building networks, thereby generating their own stocks of social capital. It therefore challenges the dominant perception within the literature of young people as receivers, rather than producers, of social capital.

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Pendanx, Marie. "Cultures locales et identités : l’exemple des pays du Sud Sud-Ouest landais (France)." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30021/document.

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Dans le cadre de la mondialisation et dans celui, concomitant, d’une certaine uniformisation culturelle, nous sommes confrontés au paradoxe de l’émergence d’identités et de territoires très localisés (en Aquitaine comme ailleurs), s’appuyant sur des représentations comme sur des pratiques culturelles originales ou, tout au moins, qui s’affichent comme telles. En quoi consistent exactement ces cultures locales qui souvent se déclinent dans un contexte de recomposition socio-spatiale plus ou moins profonde (périurbanisation, littoralisation des populations …) ? Dans quelle mesure la confirmation ou l’émergence de ces cultures locales identitaires et territorialisées exerce des incidences sur la citoyenneté, l’aménagement du territoire et le développement territorial ? Comment des univers sociaux arrivent-ils à s’affirmer ? Sur notre terrain d’investigation, l’angle du département des Landes et plus particulièrement sa partie sud-ouest au contact du Pays-Basque et du Béarn, nous sommes en présence d’une société qui est en renouvellement. Il est par conséquent opportun de s’interroger sur la manière dont se constitue la localité que nous avons choisie comme espace d’étude. Etant confrontés à des objets changeants, chargés d’idéologies, de représentations, nous avons adopté une démarche combinatoire qui s’inscrit au cœur d’une géographie sociale et humaniste. Le travail d’enquête et de recherche réalisé nous permet de montrer que sur cet espace la culture locale est une culture marquée par des apports extérieurs et des singularités propres. L’étude de la vie quotidienne dans notre aire d’investigation sud-landaise a mis en évidence des éléments endogènes constitutifs d’une culture de l’habiter, de l’Ici, de la fête, vivante et populaire. Pour autant, ces spécificités apparentes ne sont le produit que de "branchements" réalisés par des individus de plus en plus mobiles, indépendamment du contexte urbain ou rural. Le local apparait ainsi comme une construction permanente, innovante à travers une logique de "bricolages" identitaires Within the framework of globalization and the implicit process of cultural standardization, we are confronted with the paradoxical emergence of local identities and territories - in Aquitaine and beyond - which are supported by original cultural practices or claiming, at least, to be as such. What are the particulars of these local cultures, which often come in a variety of forms in the context of a more or less deep sociospatial recomposition (development of peri-urban et coastal areas) ? To what extent do the confirmation or emergence of these cultures, firmly rooted in local identities and territories, impact on citizenship, country planning and regional development ? How can social realities assert themselves ?On our ground of investigation, the south-west corner of the Landes département bordering the Pays basque and the Béarn, we are in front of society in a state of renewal. Therefore it is convenient to figure out the lines along which the local territory we chose takes shape. Confronted with changing objects full of ideologies and representations, we adopted a combining approach which lies at the heart of a social and humanist geography. Our work of investigation and research has enabled us to show that the local culture of this area is marked both by external influences and its own features. The study of daily life in our area of investigation in the south of the Landes has shed light on the inner components of a whole culture based on living, the sense of the “here” and popular and lively celebrations. Nevertheless these apparent specificities are the outcome of “connections” worked out by increasingly mobile individuals, regardless of the urban or rural context. Local features thus turn out to be permanently under an innovatory process of construction fed by makeshift identity creations

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Seman, Michael. "More buildings about songs and food: A case study of Omaha's Slowdown project." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3917/.

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The success of independent rock music ("indie rock"), once a marginalized sub-genre of the rock idiom and now a globally recognized cultural force, has impacted the urban landscape of Omaha, Nebraska via the mixed-use urban redevelopment project, "Slowdown" - a result of cultural production by the city's successful indie rock business entities. While geographic research has previously analyzed urban redevelopment initiated by fine artists, the event of indie rock music being a catalyst for urban redevelopment has never been considered in a geographic scope. By examining the topics of affordable technological tools, Omaha's reduced cost-of-living, and cooperative efforts by city leaders, insight into how an indie rock "scene" can become a successful urban redevelopment catalyst is gained.

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Snyder, Lydia L. "Voicing Mother Nature: Ecomusicological Perspectives on Gender and Philosophy in Japanese Shakuhachi Practice." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1556496056536201.

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Anjos, Melissa Souza dos. "Lugares e personagens do universo buarqueano." Universidade do Estado do Rio de Janeiro, 2011. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=3469.

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A partir da década de 1970, a ciência geográfica passou a entender que seus conceitos, suas categorias analíticas, bem como seus objetos de pesquisa poderiam se utilizar dos discursos literários, em suas diversas possibilidades, incluindo o cinema, a pintura e, até mesmo, a música. Compreender os lugares a partir dos panoramas narrados pelos literatos {escritores ou compositores} e fomentar uma leitura de mundo repleta de sentidos existenciais, oferecida pelas maneiras que os autores apreendem, se configura como um relevante caminho de entendimento do mundo vivido a partir da interrelação entre a linguagem científica e artística. Neste sentido, a corrente humanística em geografia tem se dedicado a esta análise, uma vez que a linguagem literária tem a particularidade de comunicar aspectos da vida ou fatos e tempos da experiência humana, revelando, pois, o sentimento e o entendimento do literato frente à sociedade. No que tange à literatura musical, os versos permitem múltiplas interpretações. A música pode afetar, comover, causar estranheza, interesse ou reflexão, fazer o corpo se movimentar ou relaxar e, ainda, servir de base para análises filosófico-científicas a respeito dos espaços e lugares geográficos. Dito isto, esta dissertação segue a trilha da geografia humanística e nossa intenção é mostrar esta corrente configurando um caminho para a elucidação da complexidade exposta pela análise subjetiva de um elenco de letras capturadas do acervo de Chico Buarque, bem como o desvendar da plêiade de efemérides, sentimentos, mazelas e vibrações encerradas no cancioneiro buarqueano e que podem ser lidas através do conceito de lugar, este confundido com a trajetória da geografia humanística. Since the decade of 1970, the geographical science came to understand that their concepts, their analytical categories, as well as their objects of study could use the literary discourse, in its various possibilities, including the cinema, the painting, and even the music. Understand the places from the panoramas narrated by literates {writers or composers} and to foment a reading of the world full of existential meanings, offered by the ways that the authors perceive, is configured as an important way of understanding the life-world from the interrelationship between scientific and artistic language. In this sense, the current humanistic in geography has been dedicated to this analysis, since the literary language has the particularity to communicate aspects of the life or facts and times of human experience, revealing, therefore, the feeling and understanding of the literate in the society. In terms of musical literature, the verses allow multiple interpretations. Music can affect, cause strangeness, interest or reflection, to make the body move or relax and, still, to serve as the basis for philosophical-scientific analysis regarding the geographics spaces and places. That said, this thesis follows the trail of the humanistic geography and our intention is to show that this chain configure a path for the elucidation of the complexity exposed by subjective analysis of a cast of lyrics caught in the Chico Buarques collection, as well as the unveiling of a pleiad of events, feelings, wounds and vibration closed in the songbook buarqueano, which can be read through the concept of place, this confused with the trajectory of the humanistic geography.

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Sjöberg, Erik. "Realia i textböcker : En undersökning av realia i textböcker i spanska för årskurs 7–9." Thesis, Karlstads universitet, Institutionen för pedagogiska studier (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-74285.

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The purpose of this study is to find out to what extent and what frequency realia is highlighted in Spanish textbooks for year 7–9. As realia is a wide concept this study has focused on geography, history and music. For this study, a content analysis of both texts and images in teaching materials for year 7-9 has been conducted in order to detect what types of realia are being highlighted and how. The results showed that both teaching materials give a large amount of realia hence a comparison has also been made. In conclusion, all the books in both series do highlight realia, however, they do so in different ways. This means that it matters for the realia education which teaching material is used on an everyday basis, but also that, regardless of what series is used for teaching, the other can serve as a complement. Syftet med den här studien är att få reda på i vilken bredd och med vilken frekvens man tar upp realia i textböcker i spanska för årskurs 7–9. Då realia är ett vitt begrepp har studien fokuserat på geografi, historia och musik. För undersökningen har en innehållsanalys av både texter och bilder i läromedel i spanska för årskurs 7–9 genomförts för att ta reda på vilken typ av realia som tas upp och hur. Resultatet visade att båda läromedelsserierna ger en stor mängd realia och en jämförelse mellan läromedlen har också gjorts. Som slutsats kan man se att alla böcker i serierna tar upp realia men att det görs på olika sätt. Detta bidrar till att valet av läromedel för den vardagliga undervisningen spelar roll för undervisningen av realia men även att oberoende av vilken av dessa serier man använder kan den andra fungera som komplement till undervisningen.

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Lupro, Michael Mooradian. "Space Oddities for the Age of Space Tourism." Bowling Green State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1239723528.

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Hae, Laam. "Zoning out dance clubs in Manhattan : gentrification and the changing landscapes of alternative cultures." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available, full text:, 2007. http://wwwlib.umi.com/cr/syr/main.

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Benabdellah-Pickel, Alia. "Un portrait géographique de la techno de Détroit : analyse du genre dans son contexte de naissance noir américain, et de sa diffusion mondiale." Thesis, Bordeaux 3, 2020. http://www.theses.fr/2020BOR30021.

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La musique techno a été créée au sein de la communauté noire de Détroit aux États-Unis, au début des années 1980. Cette thèse s’intéresse à la ville de Détroit, à la communauté noire américaine de la plus grande ville noire des États-Unis et à ce style de musique électronique qui a obtenu rapidement une audience mondiale au point d’influencer de nombreuses musiques populaires contemporaines. Mon projet est de dresser un portrait de la musique techno, en lien avec le lieu de son apparition, et de sa diffusion à l’échelle locale, nationale et internationale, marquée en particulier par un aller-retour continu entre les deux rives de l’Atlantique. Je chercherai ainsi à comprendre comment la techno s’est développée à différentes échelles géographiques et quels ont été les espaces de réception de cette musique originellement noire, mais souvent perçue comme blanche à une échelle mondiale. De la même manière, il s’agira de réinscrire ce style musical dans son héritage musical noir américain et montrer en quoi il est la continuation d’une longue tradition de message sonique codé. Ce travail doctoral s’appuie sur un travail de terrain long et approfondi, divisé entre deux séjours de recherche à Détroit et sa région sur une période de deux ans, et un séjour de recherche à Berlin sur une période de trois mois, tous deux financés par des bourses de recherche, respectivement américaine (Georges Lurcy – Fulbright) et allemande (John F. Kennedy Institute for North American Studies). Le but de ce travail doctoral est d’analyser la techno de Détroit et de présenter un portrait géographique du genre musical et de sa diffusion, de Détroit à l’Europe (avec un focus sur Berlin), puis du mouvement retour, afin d’étudier l’évolution du genre musical à différentes échelles géographiques, et de souligner le processus de blanchiment dont il est victime. À une échelle locale, l’ancrage de cette musique dans son territoire de naissance sera étudié, ainsi que les raisons qui font de la techno de Détroit le fruit de son environnement et de l’histoire de la ville où elle est née. J’observerai ainsi comment la techno de Détroit s’est développée à une échelle locale. Dans un mouvement retour de la techno à Détroit, à une échelle locale et transnationale, je chercherai à savoir pour quelle raison ce style contemporain de musique afro-américain qui a connu rapidement une diffusion mondiale n’a trouvé qu’un écho faible dans la communauté noire de Détroit. Enfin, question qu’il est difficile d’ignorer, la techno noire de Detroit est un genre musical presqu’exclusivement masculin : quelles sont les perceptions que peut en donner le mouvement contemporain du Black Feminism ? Cette question nous permettra d’intégrer les réflexions sur l’intersectionalité, un concept développé au sein de la communauté noire américaine The main aim of my dissertation is to analyze Detroit techno and presents a geographical portrait of its diffusion, from Detroit to Europe (mostly the UK and Berlin) and back, in order to study the evolution of the musical genre at different scales and to highlight the whitening process it is a victim of. Thus, the problem statement relies on understanding how does techno perform a continuity and discontinuity within African American musical genres; and what are the spaces of diffusion of techno music in the world, particularly in Europe on a transatlantic scale? I am also studying the spaces of creation and diffusion of techno music in contemporary Detroit, once it came back from Europe, with a focus on Black Feminist critics which open the musical genre to a decolonizing process. Since techno uses few codes classically present in African American music and because mastering technology is usually perceived as the matter of the Western community, this music is perceived in the collective imagination as White music rather than Black, created in Berlin rather than intrinsically attached to Detroit. Thus, my argument is that techno music is an essential component of Detroit's sound and music environment and embodies the transatlantic hybridity. The fluidity of Techno echoes the fluidity of the Afrodiasporic identity described best by Paul Gilroy in his seminal book Black Atlantic (1993). Techno proves that the Black identity prefigures many elements of the post-modern identity and redefines the work of Du Bois on double consciousness (1903), and the work about the Afrodiasporic identity from Stuart Hall (1996) in the digital era. This body of theories also allows me to show how techno music is pursuing the tradition of coded music at the core of African American culture rather than rejecting it like Europeans media presenting it. My dissertation is structured by three main parts, themselves subdivided by 3 chapters: (1) State of the Art, (1.1) Theoretical and Historical Presentation of Detroit, (1.2) Black Atlantic and Geography of Black Music, (1.3) Sociocultural (radical, feminist) Geography; (2) A Geographical Portrait of Detroit Techno, (2.1) "Detroit is Techno city and techno is black", cultural and urban context of the pretechno decade in Detroit (2.2) Techno crossing the Atlantic, (2.3) From Berlin to Detroit, the return of techno to its homeland; (3) For a definition of Detroit techno, (3.1) Black Atlantic and Black music, is there a Black techno?, (3.2) The European Whitening/Economical Spoliation of Detroit techno, (3.3) The Detroit Techno scene and its local urban implications

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Rumi, Sheila Cristina Panigassi Tamburo Ortega. "Geografia e música: leituras geográficas da construção da identidade brasileira através da música." Pontifícia Universidade Católica de São Paulo, 2014. https://tede2.pucsp.br/handle/handle/12317.

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Made available in DSpace on 2016-04-27T18:15:44Z (GMT). No. of bitstreams: 1 Sheila Cristina Panigassi Tamburo Ortega Rumi.pdf: 1324744 bytes, checksum: 752cad29764c510e3aeaca0c9c55f0a0 (MD5) Previous issue date: 2014-04-25 This paperwork investigates the use of the arts, more specifically, the music, in the construction of the national Brazilian Identity. It does so by tracking two distinguished historical moments known by profound transformations in the country: Heitor Villa-Lobos´s musical Project based on the introduction of orpheon choirs in public schools under the Getúlio Vargas´s leadership (1930 to 1945). This musical project aimed to build an idea of nationalism and the feeling of belonging to the Brazilian territory. The second moment, we have the military dictatorship (1964 to 1985), and the musical style known as Tropicalista examined through ironic lyrics and dubious connotations of its composers, whom aimed to address (considering the censorship of the moment) a Brazilian social and political position of inequality, although the economical scenario presented progress and growth through its industrialization. The geographical interpretations are the guideline for the whole research Este trabalho investiga o papel das artes, mais especificamente da música, na construção da identidade nacional brasileira. Para isso, utiliza-se de dois momentos históricos marcados por profundas transformações no país: o projeto do maestro Heitor Villa-Lobos de implementar o canto orfeônico no currículo escolar nacional sob o governo do presidente Getúlio Vargas (1930 a 1945). Esse projeto de ensino musical nas escolas buscava imbuir os alunos do espírito cívico brasileiro, despertando e construindo a identidade nacional e a noção de pertencimento ao território. No segundo momento, encontramos a Ditadura Militar (1964 a 1985) e o movimento musical Tropicalista que é examinado através das letras irônicas e de dupla conotação de seus compositores, que buscaram denunciar (ao mesmo tempo que são censurados e perseguidos) um Brasil marcado pelas desigualdades sociais, embora o crescimento econômico do país demonstrasse progresso e desenvolvimento através do fortalecimento de sua industrialização. A leitura geográfica é o meio de interpretação e o fio condutor dos acontecimentos

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Canova, Nicolas. "L'imaginaire géographique à l'épreuve du phénomène musical : L'exemple du flamenco en Andalousie." Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00913534.

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Au cours du 20e siècle, la musique s'est affirmée comme un objet pertinent pour les géographies francophones et anglophones. Bien que ce constat s'accompagne aujourd'hui de publications nombreuses et variées, le sujet continue d'étonner à l'intérieur même de la discipline. Ce travail explore les causes d'un tel blocage. L'hypothèse suppose que l'affirmation de la musique comme objet géographique est responsable du paradoxe constaté. Si cette idée se vérifie lorsque la justification élaborée par les music geographers est à la source d'une forme d'inertie, elle montre surtout que l'enfermement d'un objet dans un sous-courant porte atteinte à sa liberté de circulation intradisciplinaire. Affirmer la pertinence du sujet sans pour autant restreindre l'objet à une sous-discipline implique alors la généralisation disciplinaire de la musique, puis sa pluridisciplinarisation. En guise de terrain, le flamenco illustre la complexité géographique d'un phénomène musical. La flamencologie historique s'est construite sur des oppositions et des incertitudes, principalement parce qu'elle a cherché à spécifier les caractéristiques de son objet. En travaillant le flamenco dans tous ses espaces, lieux et territoires, nous voyons qu'il fait converger divers points de vue, dans la tension ou dans la continuité. L'analyse des relations interspatiales permet de mieux saisir l'objet dans l'espace géographique. Ainsi, ses différentes dimensions (socioculturelle, économique et politique principalement) peuvent être réunies pour aborder les principes d'une action flamenca.

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Nolan, Karin. "American Elementary Music Programs: Current Instructional Methods, Goals, Resources, and Content Standards by Geographic Region and Grade Level." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/194200.

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The purpose of this investigation was to identify current instructional practices, goals, and content standards addressed in American elementary music programs. Participants (N = 963) were sampled from elementary music teachers across the United States and administered a survey addressing music classes offered to each elementary grade level, average music instructional time, use of state standards and district music curricula, use of published materials, music integration, program goals, and perceived importance of various content standards by grade level. The three most frequently indicated music classes offered to elementary students were general music (84.57%), Orff (5.36%), and band (3.12%). Instrumental options and choir were typically only offered to older elementary students. Most elementary students received music instruction for an average of 31 to 60 minutes per week. Older students, however, tended to receive longer amounts of music instructional time. Over 81% of teachers regularly used their states’ standards when developing lessons. Slightly over two-thirds of all participants were provided a music curriculum to follow, although only 38.53% of total participants almost always followed it. Almost 48% sometimes used and over 36% almost always used published materials; Silver Burdett/Ginn and MacMillan/McGraw-Hill published the most popular series among elementary music teachers. Participants primarily used Essential Elements 2000 for band and orchestra. Nationally, 82.24% of participants indicated they regularly integrated music with other academic areas during lessons. On average, elementary music teachers integrated between three and four different subjects with music. Among the prominent areas reinforced through music were language arts (77.31%), mathematics (66.03%), social studies (55.77%), science (39.87%), and history (33.21%). The most commonly indicated music program goals were to foster students’: lifelong love of music; music appreciation; music foundation skills; and music reading skills. Participants also rated by grade level the perceived importance of various behavioral objectives separated into three content areas: pitch, rhythm, and musicality/history/timbre. After collecting all data and evaluating national trends, the researcher compared responses by geographic region - divided into the six MENC regions - and grade level, when appropriate. In each survey item where the researcher conducted tests of significance, significant (p ≤ .05) main effect differences were found.

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Alves, Cristiano Nunes 1981. "Os circuitos e as cenas da música na cidade do Recife : o lugar e a errância sonora." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/286643.

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Orientador: Adriana Maria Bernardes da Silva Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Geociências Made available in DSpace on 2018-08-26T21:45:22Z (GMT). No. of bitstreams: 1 Alves_CristianoNunes_D.pdf: 14914085 bytes, checksum: 9a44c55771357ece44ec9508f7058561 (MD5) Previous issue date: 2014 Resumo: Intenta-se contribuir para o entendimento das dinâmicas territoriais na metrópole atual por meio de um estudo dos fixos e fluxos movimentados para a produção e a difusão da música na cidade de Recife-PE. Toma-se o período desde o final dos anos 1980 até os dias atuais, quando se inicia uma intensa difusão da variável informacional no território brasileiro associada à alocação de um espesso sistema técnico funcional a sua circulação. No período adensa-se ainda uma efervescência na produção cultural recifense, em especial aquela mais ligada à música. Aborda-se a topologia-tipologia das cenas musicais recifenses, fecunda empiria para a problematização em torno das espessuras comunicacionais nos lugares, bem como se analisa o circuito sonoro contemporâneo. Busca-se aclarar quais são as conexões entre os circuitos informacionais descendentes, fundamentados em lógicas e normas estranhas aos lugares, e circuitos informacionais ascendentes, fundamentados na organização própria dos lugares. Estariam nas cenas musicais, movimentadas por interesses comuns, possíveis agentes de um projeto urbano que se sobreponha à desigualdade socioterritorial característica de nossas cidades? Propõe-se a noção de errância sonora, cara à análise das manifestações musicais no cotidiano dos lugares. Trata-se de um estudo com o intuito de compreender as condições geográficas da cidade de Recife, uma busca por alternativas para adensar a circulação de informações ascendentes no território Abstract: Intends to contribute to the understanding of territorial dynamics in the current metropolis through a study of the fixed and flows moved to the production and dissemination of music in the city of Recife-PE. It¿s our interest the period from the late 1980s to the present day, when starting an intense dissemination of informational variable in Brazilian territory associated with the allocation of a thick technical system functional for your movement. In the period still thickens an effervescence in Recife cultural production, particularly that related more to the music. Is studied the topology-typology of musical scenes in Recife, empirical fruitful for questioning around the communicational thicknesses in places, as well as analyzes the contemporary sound circuit. Seeks to clarify what are the connections between the descendants informational circuits, based on logics and norms unrelated to places, and rising informational circuits, based on the organization itself places. Would be in musical scenes dynamized by common interests, potential agents of an urban project that overlaps the socioterritorial inequality characteristic of our cities? Proposes the notion of wandering sound, operational to the analysis of musical expressions in everyday places. It is a study in order to understand the geographical conditions of the city of Recife, a search for alternatives to increase the movement of upward informations in the territory Doutorado Análise Ambiental e Dinâmica Territorial Doutor em Ciências

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Justeson, Jeremy Bradford. "Performance aspects in compositions for saxophone and tape David Heuser's Deep blue spiral, Paul Rudy's Geographic bells, and James Mobberley's Spontaneous combustion /." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3023553.

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Almeida, Alberto Alexandre Lima de. "A concep??o de paisagem de professores de geografia em escolas do munic?pio de Parnamirim (RN)." Universidade Federal do Rio Grande do Norte, 2013. http://repositorio.ufrn.br:8080/jspui/handle/123456789/14577.

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Made available in DSpace on 2014-12-17T14:36:49Z (GMT). No. of bitstreams: 1 AlbertoALA_DISSERT.pdf: 871592 bytes, checksum: e0f386e6973c880e2e8210fd92823b82 (MD5) Previous issue date: 2013-12-16 This work is an exploratory study based on the principles of qualitative research aiming at the conception of landscape by Geography teachers in the city of Parnamirim (RN), as well as the pedagogical implications originated from such conceptions on the formation of students. In order to start our investigative process, we used, as theoretical and methodological reference, some principles of historical and dialectical materialism by Trivi?os (2007) and historical cultural approach of education by Freire (1987; 1996) e Vygotsky (1993; 2001; 2007), as well as the meaning of conception by Morin (1996) and Ferreira (2007) and the critical approach of geography by Moraes (2005), Santos (1988; 2004; 2006) and Silva (1989; 2010). Also, we used oral history as a research technique such as Moraes (2004), Bertaux (2010), Ferraroti (2010) and N?voa (2010) and semi-structured interviews as data collection tools. Our empirical reference is made of four teachers working in four different public schools in the city mentioned above, providing the needed data to start our research. The objective of such interviews is not the verification of the teachers‟ practice in class or outside them, but it highlights the transitoriness of the evidences mentioned in the research. Thus, we conclude that the conception of landscape mostly accepted by the teachers, once it is a process built along their lives and surrounded by their pedagogical practice, prioritizes the visual and morphological aspects and the sentimental livings related to the conception which is situated in a descriptive level of conception. Effectively, the pedagogical implications of these conceptions at school point to a materialization of geography teaching centered on the non-critical reproduction of school subjects which very little instigate the learners to process, via dialogicity, the re-significations of their essential and multiple attributes despite the several attempts and possibilities of some theoretical and methodological renovations on the application of geographical knowledge about landscape, expressed on the report of the interviewees Esse trabalho define-se como um estudo explorat?rio ancorado nos princ?pios da pesquisa qualitativa cujo objeto de estudo versa sobre a concep??o de paisagem de professores de Geografia do munic?pio de Parnamirim (RN) e as implica??es pedag?gicas advindas dessa concep??o na forma??o do educando. Para desencadearmos o nosso processo investigativo utilizamos como referencial te?rico-metodol?gico as contribui??es de alguns princ?pios do materialismo hist?rico e dial?tico de Trivi?os (2007) e da abordagem hist?rico-cultural da educa??o de Freire (1987; 1996) e Vygotsky (1993; 2001; 2007), bem como recorremos ao significado de concep??o segundo Morin (1996) e Ferreira (2007) e ? abordagem cr?tica da Geografia em Moraes (2005), Santos (1988; 2004; 2006) e Silva (1989; 2010). Al?m disso, fizemos uso da hist?ria oral como t?cnica de pesquisa, de acordo com Moraes (2004), Bertaux (2010), Ferraroti ( 2010) e N?voa ( 2010) e da entrevista semiestruturada como procedimento de coleta de dados. A nossa refer?ncia emp?rica constituiu-se de quatro professores lotados em quatro escolas da rede p?blica do referido munic?pio, os quais, atrav?s de depoimentos concedidos no pr?prio local de trabalho, forneceram os dados necess?rios ? execu??o dessa pesquisa, n?o se configurando como objetivo do estudo a verifica??o na pr?tica de sala de aula e fora dela dos dizeres dos part?cipes, o que ressalta a transitoriedade das evid?ncias ressaltadas na pesquisa. Desse modo, constatamos que a concep??o de paisagem predominante entre os professores, processo permeado pelo seu fazer pedag?gico e constru?do ao longo de suas vidas, prioriza os aspectos vis?veis e morfol?gicos e as viv?ncias sentimentais relacionadas ao referido conceito, o qual se situa em n?vel descritivo de concep??o. Com efeito, as implica??es pedag?gicas da aplica??o dessas concep??es no lugar escola apontam uma materializa??o do ensino de Geografia centrada na reprodu??o acr?tica de conte?dos escolares, que pouco instiga os educandos a processarem, por meio da dialogicidade, as ressignifica??es dos seus atributos m?ltiplos e essenciais, apesar das tentativas e possibilidades de algumas renova??es te?rico-metodol?gicas na aplica??o dos conhecimentos geogr?ficos sobre paisagem expressas nos depoimentos dos part?cipes

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Feaux, de la Croix Jeanne. "Moral geographies in Kyrgyzstan : how pastures, dams and holy sites matter in striving for a good life." Thesis, University of St Andrews, 2011. http://hdl.handle.net/10023/1862.

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This thesis is an ethnography of how places like mountain pastures (jailoos), hydro-electric dams and holy sites (mazars) matter in striving for a good life. Based on eighteen months of fieldwork in the Toktogul valley of Kyrgyzstan, this study contributes to theoretical questions in the anthropology of post-socialism, time, space, work and enjoyment. I use the term ‘moral geography’ to emphasize a spatial imaginary that is centred on ideas of ‘the good life’, both ethical and happy. This perspective captures an understanding of jailoos which connects food, health, wealth and beauty. In comparing attitudes towards a Soviet and post-Soviet dam, I reveal changes in the nature of the state, property and collective labour. People in Toktogul hold agentive places like mazars and non-personalized places like dams and jailoos apart, implying not one overarching philosophy of nature, but a world in which types of places have different gradations of object-ness and personhood. I show how people use forms of commemoration as a means of establishing connections between people, claims on land and aspirations of ‘becoming cultured’. I demonstrate how people draw on repertoires of epic or Soviet heroism and mobility in conceiving their life story and agency in shaping events. Different times and places such as ‘eternal’ jailoos and Soviet dams are often collapsed as people derive personal authority from connections to them. Analysing accounts of collectivization and privatization I argue that the Soviet period is often treated as a ‘second tradition’ used to judge the present. People also strive for ‘the good life’ through working practices that are closely linked to the Soviet experience, and yet differ from Marxist definitions of labour. The pervasively high value of work is fed from different, formally conflicting sources of moral authority such as Socialism, Islam and neo-liberal ideals of ‘entrepreneurship’. I discuss how parties, poetry and song bring together jakshylyk (goodness) as enjoyment and virtue. I show how song and poetry act as moral guides, how arman yearning is purposely enjoyed in Kyrgyz music and how it relates to nostalgia and nature imagery. The concept of ‘moral geography’ allows me to investigate how people strive for well-being, an investigation that is just as important as focusing on problem-solving and avoiding pain. It also allows an analysis of place and time that holds material interactions, moral ideals, economic and political dimensions in mind.

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Rhodes, Mark A. II. "The Memory Work of Welsh Heritage: Multidimensional landscapes of a multinational Wales." Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1555693473757734.

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Hoffner, Annika. "”Om man inte lyssnar på musik så kan man höra om någon går bakom en” : En kvalitativ intervjustudie om upplevd (o)trygghet i Uppsala." Thesis, Uppsala universitet, Kulturgeografiska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-354551.

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Studiens övergripande syfte är att studera hur kvinnor och män rör sig i offentliga rum med upplevd (o)trygghet som utgångspunkt. Studien ämnar också undersöka vilka trygghetsskapande strategier som används och vilka åtgärder inom samhällsplaneringen som kan göras för att en stad ska upplevas som tryggare. En fallstudie i Uppsala med kvinnliga och manliga studenter har genomförts för att uppnå syftet. I studien används en feministisk metodologi och semistrukturerade kvalitativa intervjuer har genomförts. Undersökningen visar att kvinnorna upplever mer otrygghet och är mer begränsade av sin otrygghet än männen. De flesta av männen berättar att de upplever otrygghet i mötet med, exempelvis en hotfull person som har kniv, medan kvinnorna berättar om sin otrygghet som en mer generell känsla, exempelvis när det är mörkt på kvällen, eller vid möten med män, farliga eller ofarliga. De flesta av informanterna, även de som upplever sig vara helt trygga, använder sig av trygghetsskapande strategier. Vanligast är att undvika att lyssna på musik i hörlurar när det är mörkt ute för att vara mer uppmärksam på omgivningen. Som åtgärder på hur samhällsplaneringen kan bidra till ett tryggare samhälle nämndes huvudsakligen ökad närvaro av polis och vakter, förbättrad belysning och planering som leder till att människor befinner sig på platser.

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Balti, Samuel. "La territorialisation des musiques amplifiées à Toulouse : lecture renouvelée des dynamiques urbaines." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00776582.

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Ville et musiques amplifiées sont intimement liées, ainsi l'étude d'une scène artistique peut éclairer le fonctionnement d'un système métropolitain et les enjeux liés aux recompositions des territoires. Cette thèse a pour objectif de le montrer au regard de l'exemple toulousain. Toulouse représente une scène riche et diversifiée, constituée d'un fourmillement d'initiatives associatives, dont les activités révèlent des logiques multiples d'ancrage au territoire, sans cesse renouvelées. L'exploitation d'une série de plusieurs enquêtes de terrain menées auprès des acteurs de la scène locale conduit à décrypter les rouages du territoire des musiques amplifiées. Ces acteurs investissent des lieux, se structurent en réseaux, impulsent des dynamiques territoriales spécifiques... Ils offrent une entrée originale pour aider à comprendre les mutations socio-spatiales et engager une réflexion sur l'implication citoyenne dans la vie de la cité.

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Ninan, Abraham. "What are the roles of networks and clusters in the operation of an industry? The case of Queensland music." Thesis, Queensland University of Technology, 2005. https://eprints.qut.edu.au/16090/1/Abraham_Ninan_Thesis.pdf.

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The doctoral thesis examines Queensland's music industry in terms of concepts derived from cluster and network theories in the context of literature discussing creative industries. To this end, the thesis is conceived as one case study incorporating quantitative surveys, convergent interviews and document analyses as its units of investigation. This is necessary because it is the industry as a whole that is the object of theorizing (in terms of Porter and network theory). The 357 firms surveyed represent the creative content producers, distributors and suppliers that comprise Queensland's music industry. The sample for the survey was randomly selected from a universe of 10977 individuals and/or organisations involved in the following sectors of Queensland's music business: music publishing, record companies and distributors, recorded music retailing, other performing arts/music and theatre productions, music composition, and music performance. The data was analysed to understand and describe the nature of firms in the industry and investigate cluster and network dynamics in the operation of the industry. Twenty convergent interviews were also undertaken to further elaborate the qualitative dimensions of cluster and network dynamics in the industry, with particular attention to understanding how the factor input conditions of Porter's cluster model work in practice in the industry, as well as elucidating network effects not adequately addressed by Porter's theory. Policy and industry documents relating to Queensland's music industry were used to contextualise the findings. The conclusions articulate how Queensland's music industry operates as a cluster, and how innovation and creativity are facilitated. The thesis finds Porter's model insufficient to describe some key aspects of this industry's operation. Face-to-face communication, trust and informal networks combine explicit and tacit knowledge to bring about innovation. Thus the industry should be conceived of as a cluster of networks. Furthermore, the findings problematise the notion of distance in cluster and network theories. Traditionally, distance has been conceived in geographic terms; the findings suggest that in the music industry, distance must be understood as cognitive and cultural as well as geographic. The findings provide a detailed set of theoretical modifications to cluster and network theories. Implications are discussed for industry development and policy in Queensland's music industry.

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Ninan, Abraham. "What are the roles of networks and clusters in the operation of an industry? The case of Queensland music." Queensland University of Technology, 2005. http://eprints.qut.edu.au/16090/.

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The doctoral thesis examines Queensland's music industry in terms of concepts derived from cluster and network theories in the context of literature discussing creative industries. To this end, the thesis is conceived as one case study incorporating quantitative surveys, convergent interviews and document analyses as its units of investigation. This is necessary because it is the industry as a whole that is the object of theorizing (in terms of Porter and network theory). The 357 firms surveyed represent the creative content producers, distributors and suppliers that comprise Queensland's music industry. The sample for the survey was randomly selected from a universe of 10977 individuals and/or organisations involved in the following sectors of Queensland's music business: music publishing, record companies and distributors, recorded music retailing, other performing arts/music and theatre productions, music composition, and music performance. The data was analysed to understand and describe the nature of firms in the industry and investigate cluster and network dynamics in the operation of the industry. Twenty convergent interviews were also undertaken to further elaborate the qualitative dimensions of cluster and network dynamics in the industry, with particular attention to understanding how the factor input conditions of Porter's cluster model work in practice in the industry, as well as elucidating network effects not adequately addressed by Porter's theory. Policy and industry documents relating to Queensland's music industry were used to contextualise the findings. The conclusions articulate how Queensland's music industry operates as a cluster, and how innovation and creativity are facilitated. The thesis finds Porter's model insufficient to describe some key aspects of this industry's operation. Face-to-face communication, trust and informal networks combine explicit and tacit knowledge to bring about innovation. Thus the industry should be conceived of as a cluster of networks. Furthermore, the findings problematise the notion of distance in cluster and network theories. Traditionally, distance has been conceived in geographic terms; the findings suggest that in the music industry, distance must be understood as cognitive and cultural as well as geographic. The findings provide a detailed set of theoretical modifications to cluster and network theories. Implications are discussed for industry development and policy in Queensland's music industry.

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Silva, Gilnara Karla Nicolau da. "O espa?o do consumo e o consumo do espa?o no munic?pio de Maca?ba-RN a partir das festas de Vaquejada (1980-2012)." Universidade Federal do Rio Grande do Norte, 2013. http://repositorio.ufrn.br:8080/jspui/handle/123456789/18944.

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Made available in DSpace on 2015-03-13T17:10:49Z (GMT). No. of bitstreams: 1 GilnaraKNS_DISSERT.pdf: 4990943 bytes, checksum: 1f73543f3c2c265d1d74601cbd38b6cd (MD5) Previous issue date: 2013-02-28 Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior No decorrer dos s?culos o espa?o geogr?fico sofreu intensas transforma??es em n?vel mundial, passando a ser visto como mercadoria, portanto, revestido de valor de troca. Diante desta premissa, alguns ge?grafos ao analisar o consumo do/no espa?o t?m procurado explicar como e por que a economia, a cultura, o simb?lico e o material se encontram, demonstrando como os complexos significados e express?es do consumo, por sua vez conectados a outros espa?os e escalas, contribuem criticamente, no entendimento da rela??o entre a sociedade e o espa?o. ? importante fazermos esta an?lise, pois, estes aspectos nos ajudam a compreender como o consumo penetra no espa?o e na vida das pessoas, haja vista que as mais abastadas s?o seus principais agentes, consumindo al?m de suas necessidades. Nesse sentido, percebemos que o modo de produ??o capitalista ? respons?vel por produzir e reproduzir o espa?o garantindo a sua acumula??o e expans?o, transformando as diferentes formas espaciais, produzindo a partir dessas, novas espacialidades que envolvem desde a cultura, ?s tradi??es e os costumes da sociedade, fazendo surgir novos h?bitos de consumo e entretenimento. Nesta perspectiva, percebemos que o capital e o consumo est?o intrinsecamente ligados ao processo de massifica??o da cultura, tendo em vista a multiplicidade de objetos criados no espa?o, os quais s?o divulgados por meio da propaga??o da informa??o e da comunica??o. A cultura de massa ou Ind?stria Cultural, com o advento da tecnologia da comunica??o e da informa??o, sobrep?e-se ? cultura popular, transformando-a em um produto industrial, sendo a mesma elaborada pelos ve?culos midi?ticos, os quais est?o ligados ao capital industrial e financeiro. Inserimos neste contexto de consumo do/no espa?o e massifica??o cultural, as festas de vaquejada, consideradas um fen?meno cultural para o povo nordestino brasileiro, que teve in?cio entre os s?culos XVII e XVIII nas fazendas de gado sertanejas. Observamos que as mesmas t?m passado por v?rias transforma??es ao longo dos s?culos, quando modificada pelo capital, tornando-se, sobretudo, uma festa ou espet?culo urbano, o qual acontece em v?rias cidades da regi?o Nordeste. Diante do exposto, buscamos compreender neste trabalho as transforma??es que ocorreram nas festas de vaquejada a partir de 1980 a 2012, especialmente, nos eventos que acontecem em Maca?ba-RN, atentando-se para suas correla??es com o processo de (re)produ??o do capital no espa?o. Portanto, considerando que as transforma??es deste evento s?o evidentes no espa?o geogr?fico, neste trabalho, destacamos sua import?ncia para os nordestinos, principalmente, para os sertanejos, fazendo um resgate de sua hist?ria, observando como este evento, aos poucos, foi ganhando novos elementos e valores, perdendo suas caracter?sticas campesinas. Notamos que ao mesmo tempo em que a vaquejada produziu um novo p?blico, transformou-se, tamb?m, em um evento-espet?culo, sobretudo, urbano, influenciando a economia das cidades que organizam tais festas e, por conseguinte, no processo de reprodu??o do capital no espa?o. Ademais, o evento passou a fazer parte do contexto mercantil-regional e do calend?rio festivo de v?rias cidades nordestinas

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Pereira, Vitor Hugo Campelo. "Infer?ncia geogr?fica para delimita??o de corredores ecol?gicos: um estudo de caso para a Mata Atl?ntica do munic?pio de Tibau do Sul/RN." Universidade Federal do Rio Grande do Norte, 2013. http://repositorio.ufrn.br:8080/jspui/handle/123456789/18940.

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Made available in DSpace on 2015-03-13T17:10:48Z (GMT). No. of bitstreams: 1 VitorHCP_DISSERT.pdf: 3748116 bytes, checksum: c0dfafc19b791663a4100df02ee357a1 (MD5) Previous issue date: 2013-03-06 Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior The Atlantic Forest biome occupies much of the Atlantic coast of Brazil, in addition to portions of Paraguay and Argentina. Due mainly to its biodiversity which falls in the group of global hotspots, i.e., areas that have high priority for conservation. Although currently there are some available devices that assist in their protection in the course of the history of occupation and exploitation of the Brazilian territory, this biome has gone, and is still going through, an intense process of devastation, caused mainly by the pressure from economic activities, culminating in a significant reduction of its area and consequent fragmentation of the landscape, which brings with hosts a series of problems at various scales and aspects. As in most municipalities included in the reach area of the biome, the situation of forest fragmentation in Tibau do Sul / RN is quite critical, reflecting on a truly diverse landscape with broad typology of land uses. Among the alternatives aimed at the conservation of this biome include the creation of protected areas and the creation of ecological corridors, the latter being more efficient by connecting the remaining forests, increasing landscape connectivity, providing significant gains in relation to biodiversity. However, a major problem on implementation of Ecological Corridors projects is related to the selection of areas for this purpose, in this sense Geography can provide important contributions through the integrated study of landscape in the light of the geosystemic approach and the use of Geographical Information System (GIS) in order to permit assessment of reality having as a base the integration of ecological, biological and man-made aspects. Thus, this research aims to indicate potential areas and propose scenarios delimitation of Ecological Corridors in the municipality of Tibau do Sul / RN through Geographic Inference techniques in GIS platform. Therefore, the methodology adopted is based on the Geosystemic approach. From these elements were created 4 models to indicate potential areas for implementation of Ecological Corridors from the environmental perspective (potential erosion), socioeconomic (cover and land prices), legislative (areas protected by environmental legislation) and integrated (combination of environmental factors, socioeconomic and legislative), which in turn served as a basis for proposing scenarios aimed at this purpose. The results showed that all models can be quite useful in indicating potential areas for the establishment of ecological corridors, especially when based on an integrated approach between environmental and anthropogenic. The Corridors delimitation proposes shown may perform duties beyond the establishment of connectivity between fragments, since they also may have usefulness in controlling erosion and protecting fragile environments. Among the models developed, the integrated constituted itself as the best option because it enabled the interconnection of a larger number of fragments from a better use of the potentialities present in the landscape O bioma Mata Atl?ntica ocupa grande parte da costa Atl?ntica brasileira, al?m de por??es do Paraguai e da Argentina. Em raz?o, sobretudo, de sua biodiversidade enquadra-se no grupo dos hotspots mundiais, ou seja, ?reas que apresentam extrema prioridade de conserva??o. Embora atualmente estejam dispon?veis alguns dispositivos que auxiliam na sua prote??o, no decorrer da hist?ria da ocupa??o e explora??o do territ?rio brasileiro, esse bioma passou, e ainda passa, por um intenso processo de devasta??o, provocado, sobretudo pela press?o exercida pelas atividades econ?micas, culminando em uma relevante redu??o de sua ?rea e em uma consequente fragmenta??o da paisagem, o que traz consigo uma s?rie de problemas em diversas escalas e aspectos. Assim como em grande parte dos munic?pios inclu?dos na ?rea de abrang?ncia do bioma, a situa??o de fragmenta??o florestal em Tibau do Sul/RN ? bastante cr?tica, refletindo assim em uma paisagem deveras diversificada com ampla tipologia de usos do solo. Dentre as alternativas que visam ? conserva??o do referido bioma destacam-se a cria??o de Unidades de Conserva??o e a cria??o de Corredores Ecol?gicos, sendo essa ?ltima mais eficiente por conectar os remanescentes florestais, aumentando a conectividade da paisagem, fornecendo ganhos significativos em rela??o ? biodiversidade. No entanto, uma das principais problem?ticas em projetos de implementa??o de Corredores Ecol?gicos est? relacionada com a sele??o de ?reas para tal fim, neste sentido a Geografia pode fornecer importantes contribui??es, atrav?s dos estudos integrados da paisagem ? luz da abordagem geossist?mica e do uso dos Sistemas de Informa??o Geogr?fica (SIG), atrav?s de t?cnicas de Infer?ncia Geogr?fica, de modo a permitir uma aprecia??o da realidade tomando por base a integra??o dos aspectos ecol?gicos, biol?gicos e antr?picos. Assim sendo, a presente pesquisa tem como objetivo indicar ?reas potenciais e propor cen?rios de delimita??o de Corredores Ecol?gicos no munic?pio de Tibau do Sul/RN, atrav?s de t?cnicas de Infer?ncia Geogr?fica em plataforma SIG. Para tanto, a metodologia adotada est? fundamentada na abordagem Geossist?mica. A partir desses elementos, foram criados 4 modelos para indica??o de ?reas potenciais par a implanta??o de Corredores Ecol?gicos a partir das perspectivas ambiental (potencial ? eros?o), socioecon?mica (cobertura e pre?o da terra), legislativa (?reas protegidas pela legisla??o ambiental) e integrada (combina??o de elementos ambientais, socioecon?micos e legislativos), que por sua vez serviram de base para a proposi??o de cen?rios voltados a essa finalidade. Os resultados mostraram que todos os modelos podem ser bastante ?teis na indica??o de ?reas potenciais para o estabelecimento de Corredores Ecol?gicos, sobretudo quando fundamentados em uma perspectiva integrada entre aspectos ambientais e antr?picos. As propostas de delimita??o de Corredores apresentadas podem exercer fun??es al?m do estabelecimento da conectividade entre fragmentos, pois as mesmas podem ter serventia tamb?m no controle de processos erosivos e prote??o de ambientes fr?geis

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Hedenstrom, Aaron. "Programmatic Geographical Depictions in Large-Scale Jazz Ensemble Works: Major Works by Gil Evans and Chuck Owen and a New Work by Aaron Hedenstrom." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849643/.

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This dissertation explores the creative process in large-scale jazz ensemble works that are programmatic in depicting geographical locations. This is achieved through analyses of Gil Evans's Sketches of Spain, Chuck Owen's River Runs: A Concerto for Jazz Guitar, Saxophone, & Orchestra, and Aaron Hedenstrom's Sketches of Minnesota. Each work is examined using five analytical categories: orchestration, large-scale form, harmonic/melodic development, programmatic framework, and use of featured soloists. The analyses draw from musical scores, interviews, biographies, recordings, and articles to reveal more about each composer's artistic intentions. This study contributes to the broader knowledge of large-ensemble jazz works and programmatic jazz works. This research meets the need for more critical analyses of important jazz ensemble works relevant to composers, arrangers, and scholars.

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Te?dulo, Jos? M?cio Ramalho. "Uso de t?cnicas de Geoprocessamento e Sensoriamento Remoto no levantamento e integra??o de dados necess?rios a gest?o ambiental dos campos de extra??o de ?leo e g?s do Canto do Amaro e Alto da Pedra no munic?pio de Mossor? - RN." Universidade Federal do Rio Grande do Norte, 2004. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16788.

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Made available in DSpace on 2014-12-17T15:19:59Z (GMT). No. of bitstreams: 1 JoseMRT.pdf: 3261760 bytes, checksum: 0a9e4ce701fa9ce62cb02438a86e4461 (MD5) Previous issue date: 2004-04-28 Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior The objective of this work is to identify, to chart and to explain the evolution of the soil occupation and the envirionment vulnerability of the areas of Canto do Amaro and Alto da Pedra, in the city of Mossor?-RN, having as base analyzes it multiweather of images of orbital remote sensors, the accomplishment of extensive integrated works of field to a Geographic Information System (GIS). With the use of inserted techniques of it analyzes space inserted in a (GIS), and related with the interpretation and analyzes of products that comes from the Remote Sensoriamento (RS.), make possible resulted significant to reach the objectives of this works. Having as support for the management of the information, the data set gotten of the most varied sources and stored in digital environment, it comes to constitute the geographic data base of this research. The previous knowledge of the spectral behavior of the natural or artificial targets, and the use of algorithms of Processing of Digital images (DIP), it facilitates the interpretation task sufficiently and searchs of new information on the spectral level. Use as background these data, was generated a varied thematic cartography was: Maps of Geology, Geomorfol?gicals Units soils, Vegetation and Use and Occupation of the soil. The crossing in environment SIG, of the above-mentioned maps, generated the maps of Natural and Vulnerability envirionmental of the petroliferous fields of I Canto do Amaro and Alto da Pedra-RN, working in an ambient centered in the management of waters and solid residuos, as well as the analysis of the spatial data, making possible then a more complex analysis of the studied area O objetivo deste trabalho ? identificar, mapear e interpretar a evolu??o do uso e ocupa??o do solo e a vulnerabilidade ambiental das ?reas de Canto do Amaro e Alto da Pedra, no munic?pio de Mossor?-RN, tendo como base a analise multitemporal de imagens de sensores remotos orbitais, a realiza??o de extensos trabalhos de campo e um Sistema de Informa??o Geogr?fica (SIG). O emprego de t?cnicas de analise espacial inseridos em um Sistema de Informa??o Geogr?fica (SIG), e relacionadas com a interpreta??o e analise de produtos advindo do Sensoriamento Remoto (SR), permitiram se chegar aos resultados apresentados. Tendo como suporte para o gerenciamento da informa??o, o conjunto de dados obtidos das mais variadas fontes e armazenados em ambiente digital, vem a constituir o banco de dados geogr?fico desta pesquisa. O conhecimento pr?vio do comportamento espectral dos alvos naturais ou artificiais, e o auxilio de algoritmos de Processamento de Imagens Digitais (PDI), facilitou a tarefa de interpreta??o e busca de novas informa??es a n?vel espectral. Com base nesses dados, foi gerado uma cartografia tem?tica variada: Mapas de Geologia, Unidades Geomorfol?gicas, Associa??o de solos, Vegeta??o e Uso e Ocupa??o do Solo. O cruzamento em ambiente SIG, dos mapas supracitados, gerou os mapas de Vulnerabilidade Natural e Vulnerabilidade Ambiental dos campos petrol?feros de Canto do Amaro e Alto da Pedra-RN, surgerindo uma gest?o ambiental centrada na gest?o das ?guas e dos res?duos possibilitando assim uma an?lise mais complexa da ?rea estudada

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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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Hsu, Hui Ning, and 許慧寧. "Explore the Integration Teaching between Music and Geography through Volkslied." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/43565572582859294453.

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碩士 國立臺灣師範大學 音樂研究所 90 In responding to the enforcement of the New 1-9 Curriculum in September of 2002, in conjunction with the essence and the concept of educational reform, this study attempts to design the curriculum integration of “arts and humanities” and “social studies” through Volkslied. The main purpose is to appreciate the music which projects to the geographic environment, and to go deep into the recognition of humanities. Promoting and encouraging students to concern with the humanities, the researcher aim to introduce and prepare those with multi-cultural acceptance and a vision of the world. In addition, it is an attempt to advance music teaching through team teaching of overstriding domains or teaching design of curriculum integration that focuses on unit topics. In Chapter One of this study, it explores Volkslied and German historical events of that time. By looking into the differences of human geography in northern, middle and southern German, the researcher discover how they contribute to the unique styles in these local Volkslied. Chapter Two is to analyze the geographical influences from their birthplaces on the eleven German composers, and to study the Volkslied they’d been quoted. Chapter Three is aimed to design the complete structures of curriculum integration, teaching activity propositions, learning goals, teaching plans and learning lists according to the discoveries of the previous chapters. Through the test of teaching experiments, this research is to prove the feasibility of curriculum integration between music and geography, guided by Volkslied. The results of this study would offer the teaching modes of overstriding domains for “arts and humanities” and “social studies” of the New 1-9 Curriculum and serve as the reference for the publishing companies of textbooks or those teachers who attempt to develop and design the curriculum integration of overstriding domains. The results indicate that this approach could connect widthwise with different fields, stimulate students’ motives in active learning, as well as advance the learning effects, however, it would consume longer time. With regard to “social studies”, which are frequently under pressure of curriculum progress and entrance examination, it’s indeed not easy to practice. Consequently, a normalized teaching is the only answer to implementing the essence and concept of the New 1-9 Curriculum.

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Keough, Sara Beth. "Canada’s Cultural Media Policy and Newfoundland Music on the Radio: Local Identities and Global Implications." 2007. http://trace.tennessee.edu/utk_graddiss/208.

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As our access to information increases with the aid of communication technologies, there is concern about cultural homogenization. Ironically, however, in the face of globalization in the media, the local often becomes increasingly important. This study explores how Canada’s cultural policy toward the media, known as the Canadian Content regulations, has both local and global implications. I examine how Canadian Content regulations apply to radio, and how these radio regulations influence broadcasting in the St. John’s, Newfoundland radio market. Interviews with radio station personnel (e.g. DJs, program directors, music librarians) and radio listeners show that radio stations in St. John’s emphasize local (Newfoundland) music in the face of more popular Canadian and American music. In addition, this emphasis on local content ensures the survival of these stations in light of new radio broadcasting technologies such as the Internet and satellite radio. Furthermore, the act of broadcasting local music on the radio in St. John's has allowed radio listening to become incorporated into listeners' Newfoundland cultural traditions. In this way, the radio becomes a medium through which station personnel and listeners present their culture by showcasing music and actively preserve their culture through the broadcast of music that speaks of times past, or current issues facing Newfoundlanders. Finally, when talking about their experience listening to Newfoundland music on the radio, several themes emerged: connection between Newfoundlanders and their identity and culture, connections with other Newfoundlanders in Newfoundland, connections to Newfoundland as a place, and connections with Newfoundlanders living off the island. Generally speaking, this study shows that radio technology brings both the local to the global through Internet broadcasting, and the global to the local through satellite radio broadcasting.

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Grimes, Jeffrey Michael 1974. "The geography of Hindustani music : the influence of region and regionalism on the North Indian classical tradition." 2008. http://hdl.handle.net/2152/18235.

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This dissertation explores the influence of regional cultures and, more specifically, of regionally based and regionally determined aesthetic preferences, on the Hindustani classical music tradition. The period from the late 19th century up through the decades following independence in 1947 saw a great deal of change both in Indian society as a whole and, by extension, within the Hindustani tradition. One of these changes was a transition in the demographic profile of the average Hindustani performer from Muslim, essentially low-caste, and hereditary, to Hindu, middle-class, and largely high caste. The other aspect of this demographic transition, namely that there was also a shift in the regional origins of the average classical musician from those native to North India to those native to the two historical regions of Bengal and Maharashtra, has largely been neglected by scholars, including ethnomusicologists. The primary assumption informing this study, then, is that, as almost every aspect of Indian culture varies markedly from region to region (including language, food habits, etc.), the regional cultures of Maharashtra and Bengal must have impacted classical music as it migrated to these regions. I approach this issue in two ways, which I term as the “Inside View” and the “Outside View.” The first represents a combination of the most common approach favored by scholars of Hindustani music, a generally objectivist approach that focuses primarily on biographies of individual musicians and on description and analysis of specifically musical processes, along with the viewpoint of the average Hindustani performer. The answers provided by this approach are partial. I complement this view of modern Hindustani music with the “Outside View,” which examines change in the tradition through the lens of larger social processes, particularly the influence of the tastes or aesthetic preferences of audience members native to these two regions, as well as by other aspects of regional culture, including the impact of semi-classical music genres native to these regions. As such, I not only demonstrate that specifically regional factors have impacted the style of classical music practiced in each of these regions, but also attempt to quantify and describe these changes. text

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"The Resonance of Place: Music and Race in Salvador da Bahia." Doctoral diss., 2011. http://hdl.handle.net/2286/R.I.9134.

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abstract: Geography, and the social sciences more broadly, have long operated within what is arguably a paradigm of the visual. Expanding the reach of geographical consideration into the realm of the aural, though in no way leaving behind the visual, opens the discipline to new areas of human and cultural geography invisible in ocular-centric approaches. At its broadest level, my argument in this dissertation is that music can no longer be simply an object of geographical research. Re-conceptualized and re-theorized in a geographical context to take into account its very real, active, and more-than-representational presence in social life, music provides actual routes to geographic knowledge of the world. I start by constructing a theoretical framework and methodological approach for studying music beyond representation. Based on these theoretical and methodological arguments, I present four narratives that unfold at the intersections of race and music in the northeast Brazilian city of Salvador. From the favelas of Rio de Janeiro to the troubled neighborhood of the Pelourinho, from the manic tempos of samba to the laid back grooves of samba-reggae, and in the year-round competition between the oppressive forces of ordinary time and the fleeting possibility of carnival, music emerges as a creative societal force with affects and effects far beyond the realm of representation. Together, these narratives exemplify the importance of expanding geographical considerations beyond a strictly visual framework. These narratives contribute to the musicalization of the discipline of geography. Dissertation/Thesis Ph.D. Geography 2011

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Jorge, Ana Luísa Caldeira Balhau. "A Música no Ensino da Geografia - Aplicação ao tema "Mobilidade Populacional"." Master's thesis, 2020. http://hdl.handle.net/10316/93732.

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Relatório de Estágio do Mestrado em Ensino de Geografia no 3º ciclo do Ensino Básico e no Ensino Secundário apresentado à Faculdade de Letras Este Relatório surge no âmbito do Mestrado de Ensino em Geografia no 3º ciclo do Ensino Básico e do Ensino Secundário com o objetivo apresentar uma descrição, análise e reflexão de todas as atividades que foram consolidadas ao longo da prática pedagógica supervisionada que decorreu no ano letivo 2019/2020 na Escola Secundária / 3º ciclo Dra. Maria Cândida, em Mira. Tem também como objetivo de demonstrar as linhas orientadoras da aplicação da estratégia didática, audição e análise de uma música, e os resultados obtidos com a mesma.O presente Relatório está dividido em dois estádios, na primeira parte é feita uma caracterização geral da escola, do núcleo de estágio e da turma e ainda a listagem e descrição das atividades letivas e não letivas realizadas durante o ano letivo. Na segunda fase é realizada uma reflexão teórica e crítica da temática “Mobilidade da População”, onde a aplicação didática terá sido aplicada. Serão apresentados a estrutura e de que forma a aplicação didática-pedagógica foi realizada, bem como a avaliação dos resultados obtidos.A estratégia teve como principal objetivo explorar a Música enquanto estratégia de consolidação de conteúdos sobre a temática de “Mobilidade da População” fazendo a caracterização da emigração interna e externa em Portugal, através da audição e interpretação da letra da música “Quero voltar para os braços da minha mãe” de Pedro Abrunhosa e “Postal dos Correios” da banda Rio Grande.Após a realização e aplicação desta estratégia didático-pedagógica foi possível aos alunos consolidar conhecimentos através da Música, estabelecer uma relação entre a música e os conteúdos abordados anteriormente, bem como fomentar o espírito crítico, raciocínio e autonomia. This Report appears within the scope of the Master of Education in Geography in the 3rd cycle of Basic Education and High School in order to present a description, analysis and reflection of all activities that were consolidated throughout the supervised pedagogical practice that took place in the academic year 2019 / 2020 at the High School / 3rd cycle Dra. Maria Cândida, in Mira. It also aims to demonstrate the guidelines for the application of the didactic strategy, listening and analyzing a song, and the results obtained with it.This Report is divided into two parts, in the first part a general characterization of the school, the internship group and the class is made, as well as the listing and description of the academic and non-academic activities carried out during the academic year. In the second part, a theoretical and critical reflection on the theme “Mobility of the Population” is carried out, where the didactic application will have been applied. The structure and how the didactic-pedagogical application was carried out will be presented, as well as the evaluation of the results obtained.The main objective of the strategy was to explore Music as a strategy for consolidating content on the theme of “Population Mobility”, characterizing internal and external emigration in Portugal, through listening and interpreting the lyrics of the song “Want back to my mother arms” by Pedro Abrunhosa and the lyrics of the song “Postcard” by the band Rio Grande.After the realization and application of this didactic-pedagogical strategy, it was possible for students to consolidate knowledge through Music, establish a relationship between music and the contents previously discussed, as well as foster critical thinking, reasoning and autonomy.

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Dissertations / Theses on the topic 'Music and geography'

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