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Sodi, Edzisani Egnes. "Qualitative reflections on teenage motherhood experiences." Thesis, Stellenbosch : Stellenbosch University, 2005. http://hdl.handle.net/10019.1/50433.
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Thesis (MPhil)--Stellenbosch University 2005ENGLISH ABSTRACT: The aim of the current study was to undertake a phenomenological investigation on teenage motherhood and to learn how this experience forms part of the teenage mother's life. Using the snowball sampling method, five women aged between 26 and 35 years were selected to participate in the study. All the five women became mothers during their teenage years. Indepth interviews were conducted in Northern Sotho and Tshivenda depending on the language preference and fluency of the participant. The interviews were audio-taped, and later transcribed and translated. A phenomenological method of analysis was used to transform the original data into natural meaning units (NMUs) which were further interrogated so as to distil central sociological themes that were associated with the experience of teenage motherhood. Apart from the finding that the participants got pregnant when they were aged between 16 and 18, five sociological themes associated with teenage motherhood were identified. These are: • Lack of knowledge about sexual relationships contributes to teenage pregnancy and motherhood. • Early childbearing has a negative impact on the teenage mother's social relationships. • Teenage mothers tend to experience emotional problems after delivery of their babies. • Teenage motherhood has a long term disruptive effect on the teenage mother's educational and occupational opportunities. • Teenage motherhood leads to significant lifestyle changes for those who have been through the experience. In view of the above themes, sexual education both at school and at home, is suggested here as a more viable option to help minimise the risk of teenage motherhood in society. Whilst other options like abortion and the newly introduced child support grant are also available to the teenage mother, these are not considered favourable.
AFRIKAANSE OPSOMMING: Die doel van die huidige studie was om 'n fenomenologiese ondersoek oor tienermoederskap te doen en uit te vind hoe hierdie belewenis deel uitmaak van die tienermoeder se bestaan. Deur die sneeubaltoetsingsmetode is vyf vroue tussen die ouderdomme van 26 en 35 jaar gekies om deel te neem aan die studie. AI vyf vroue het tydens hulle tienerjare moeders geword. Diepteonderhoude is in Noord-Sotho en Venda gevoer, afhangende van die taalvoorkeur en -vlotheid van die deelnemer. Klankopnames is van die onderhoude gemaak wat later getranskribeer en vertaal is. 'n Fenomenologiese analisemetode is gebruik om die oorspronklike data na natuurlike betekeniseenhede (NMUs - natural meaning units) te herlei wat verder ondersoek is om sentrale sosiologiese temas geassosieer met die belewing van tienermoederskap te identifiseer. Behalwe vir die bevinding dat die deelnemers swanger geraak het toe hulle tussen die ouderdom van 16 en 18 jaar was, is vyf sosiologiese temas geassosieer met tienermoederskap geïdentifiseer. Hierdie temas is: • 'n Gebrek aan kennis oor seksuele verhoudings dra by tot die voorkoms van tienerswangerskappe en -moederskap. • Vroeë kinderbaring het 'n negatiewe impak op die tienermoeder se sosiale verhoudings. • Tienermoeders is geneig daartoe om emosionele probleme te ondervind na die geboortes van hulle babas. • Tienermoederskap het 'n langtermyn ontwrigtende effek op die tienermoeder se opvoedings- en werksgeleenthede. • Tienermoederskap lei tot betekenisvolle veranderinge in lewenstyl vir diegene wat die ondervinding deurgemaak het. Met inagneming van bogenoemde temas word hier voorgestel dat seksuele opvoeding beide op skool en by die huis 'n meer lewensvatbare opsie is om die risiko van tienermoederskap in die samelewing te verminder. Alhoewel ander opsies soos aborsies en die nuutingestelde toekennings van kinderonderhoud ook vir die tienermoeder beskikbaar is, word hierdie opsies nie as bevorderlik beskou nie.
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Bassalé, Parfait Adegboyé. "Music and Conflict Resolution: Can a Music and Story Centered Workshop Enhance Empathy?" PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1122.
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The Story and Song Centered Pedagogy (SSCP) is a workshop that uses songs, stories and reflective questioning to increase empathy. This preliminary study tested the prediction that being exposed to the SSCP would increase empathy using, the Emotional Concern (EC) and Perspective Taking (PT) subscales of the renowned Interpersonal Reactivity Index (IRI) (Davis, 1990). Subjects self-reported their answers to the IRI before and after undergoing the SSCP intervention. Comparing their pre and post intervention results, no statistically significant changes were noticed for the EC and PT scales (p-value = 0.7093 for EC; p-value = 0.6328 for PT). These results stand in direct tension with the anecdotal evidence gathered from 10 years of action research that shows that the SSCP impacts audiences' ability to empathize. This opens the door for additional research with more rigorous methodology and a larger sample size which will allow for more interpretative analysis. These results also probe the concern about whether the IRI is the most suitable tool to quantitatively measure the empathetic responses caused by the SSCP and evidenced by action research.
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Johnston, Mindy Kay. "Music and Conflict Resolution: Exploring the Utilization of Music in Community Engagement." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/437.
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This study is based on interviews conducted with twenty-two musician-activists in the Pacific Northwest region of the United States in 2009 to explore perspectives about the role of music in community engagement with the aim of considering how music might be used in the field of conflict resolution. The study followed the qualitative approach of constructivist grounded theory as designed by Charmaz (2000, 2002). Two themes, "Music for Self," and "Music for Society" emerged from interviews and comprise the internal and external meanings of music to the research informants. The results of the study indicate that the relationships people have with music make it a potentially powerful tool in conflict situations within the realms of both conflict resolution and conflict transformation. More extensive research exploring these benefits is recommended.
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Gautier, Alba. "Producing a popular music : the emergence and development of rap as an industry." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.
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In this thesis, I trace the evolution of the rap market from its emergence in 1979 in New York City to its development into a national industry in 1990. I analyze the motivations of the producers of rap and the mechanisms that led to their current organization. Independent labels were the primary producers of rap records until they made distribution deals with major record companies in the second half of the eighties. I argue that the division of labor between production and distribution, which became the most common context for the production of the music, is both the result of an organizational strategy initiated by the majors and of the negative perception their executives had of rap artists.
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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.
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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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Warr, Richard Lloyd. "Music consumption : the impact of social networking, identity formation, and group influence." Thesis, Swansea University, 2015. https://cronfa.swan.ac.uk/Record/cronfa43122.
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Previous researchers such as McGuire & Slater (2005) noted that people have an inherent need to share favourite music with other people, and also theorised that a democratisation of culture is taking place with consumers effectively standing by (or in some cases even replacing) traditional tastemakers by sharing music with one another through the Internet; thus shaping culture and in turn themselves. In addition, this theory supports the notion that once music consumers discover others online who have similar or interesting tastes, they may begin to interact with one another; therefore leading to the formation of communities around an artist or genre (or around a particular tastemaker such as a podcaster) which may also provide benefits to consumers in other areas of their social lives. The motivation of this thesis was to explore how these online social influences compared to the traditional offline social influences that can be inferred upon music consumption behaviours and habits. Methods of consumption can include listening to music alone or with others, obtaining music in different formats and on various platforms, and attending live events such as music shows or festivals. A study was conceptualised on behaviours relating to live music consumption, with a literature review being conducted on the exploration of the music industry and its digitisation, identity theory (both individual and collective), and social influence. The research methodology was separated into two phases; the first being a qualitative exploratory investigation consisting of a webnography data collection which was used to examine relevant trends in online forums, and the second an online survey. The online survey allowed for the quantitative testing of the theoretical frameworks identified by the literature review, as well as enabling the development of predictive models for live music consumption behaviours in both the online and offline social contexts.
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Mogashoa, M. W. "The interface between politics and administration in the Limpopo Department of Education." Thesis, University of Limpopo (Turfloop Campus), 2006. http://hdl.handle.net/10386/1051.
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Thesis (MPA) --University of Limpopo, 2006The study conducted was based on the political and administrative interface in the Department of Education in Limpopo. This provincial Department has experienced challenges that originated from the offices of both the Executive Authority and the Accounting officer. This grey area in the Department had almost paralysed the whole system and it became imperative that it be studied in an attempt to find possible solutions. An extensive scientific body of knowledge from different scholars and their findings contributed to a new direction recommended for consideration. The findings presented have the capacity to hamstring any organisation. The findings reveal, among others, that: the complementary bureaucratic model is threatened by time, and its challenges are enormous; there is little knowledge among politicians and administrators regarding interface matters; administrators do not have a global picture regarding the result of unethical conduct; more research on interface matters needs to be done and results published for the public to be educated while politicians and administrators should be continuously trained; the fluidity of the interface needs continuous focus to avoid plunging the department into an untenable situation.
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Wong, Chi-chung Elvin, and 黃志淙. "Making and using pop music in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1997. http://hub.hku.hk/bib/B29872583.
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Lawrenson, Ilean. "Anthropologizing musical performance, the quest for a rapprochement of classical music production and practice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ42167.pdf.
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Demeuldre, Michel. "Le changement musical: étude transculturelle de trois siècles de changements dans la musique et la danse en milieu urbain." Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213065.
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Rabinowitch, Tal-Chen. "Musical group interaction : mechanisms and effects." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648235.
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Atwood, Brett D. "The role of Rap and Hip-hop music in value acceptance and identity formation." Scholarly Commons, 2006. https://scholarlycommons.pacific.edu/uop_etds/631.
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This study exp !ores the relationship between an individual's interest in and exposure to the rap/hip-hop genre and the messages and values contained within the music, as well as the role of self-esteem in generating interest and motivating exposure to rap/hip-hop music. A survey questionnaire was administered to 213 students at a community college in northern California. Interest and exposure to rap/hip-hop were found to be significantly correlated with acceptance of a number of values portrayed in the music. However, those most interested in and exposed to rap/hip-hop music were less likely to perceive negative social values in the music as well as believe these values characterized rap/hip-hop artists. Self-esteem failed as a predictor of interest and exposure to the music.
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Malatji, Modjadji Linda. "The experiences of women living with HIV and AIDS in Mankweng area, Limpopo Province." Thesis, University of Limpopo (Turfloop Campus), 2007. http://hdl.handle.net/10386/696.
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Thesis (M.A. (Social work)) --University of Limpopo, 2007The impact of AIDS has an overwhelming effect on women as they are unable to fulfill their multiple roles. For many women, a diagnosis of HIV/AIDS carries a profound physical, psychological and social burden. Gender inequities, poverty and a growing prevalence of HIV in developing countries have increased the vulnerability of women to HIV infection. Women’s lack of social and economic independence and their low status in their marital households also increase their vulnerability to HIV. They are susceptible to stigma and discrimination when they are identified as being HIV-positive. Negative social responses in these situations may result in them being rejected by their families and denied access to resources. A qualitative exploratory-descriptive study was conducted with fifty six women living with HIV/AIDS (WLWHA) in the Mankweng area and surrounding villages. Six focus groups interviews were conducted to elicit information about their experiences and perceptions on the way families, communities, health and social service professions treat them. A quantitative approach was also used to indicate the number of participants who shared similar views on a particular issue. The striking feature about the participants’ explanation of HIV and AIDS is that, they associated HIV/AIDS with makgoma (contaminations). The participants also reported that dealing with the consequences of the disease is a huge challenge. They also face challenges in managing their illness. Their problems are compounded by accusations from their partners, family members and the community who blame them for the infection. This creates stress for them that may be detrimental to their physical and emotional health. The participants freely expressed views on HIV/AIDS, aspects that are positive and unsupportive of people living with HIV/AIDS. They shared their physical, social, psychological, cultural and economical challenges. The findings also revealed that an overwhelming number (89%) of WLWHA are struggling with negotiating for condom use. Some of their partners are reluctant to use condoms thus, risking re-infection that is detrimental to their health. The participants’ plea is for the health and social service professionals to become sensitive and compassionate towards them.
Human Sciences Research Council (HSRC)
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Ponchione, Cayenna R. "Tracking authorship and creativity in orchestral performance." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:038d450e-f009-4ab0-879f-71d8f77bd77b.
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This thesis takes as its starting point the observation that the authorship of the creative product of orchestral performances has been, and continues to be, over-attributed to the conductor. This is reflected both in popular perceptions and in the scholarly attention given to the conductor's leadership role, as well as in orchestral practices which privilege the conductor's artistically superior position within the orchestra through rehearsal and performance rituals and in remuneration and marketing. Although existing research has challenged the perception that the authority of the conductor is absolute, none has offered alternative explanations for how best to attribute the authorship of orchestral performances. Through a three-phased mixed-methods empirical study including an online questionnaire, in-depth interviews, and a newly developed method of data collection utilising an online variation of video-stimulated recall to capture musician experiences in real-life rehearsal and performance settings, this research contributes to an understanding of the social psychology of orchestral performance by identifying what prompts musicians' decision-making regarding how and when to play their parts. The analysis of the data has resulted in the development of a theoretical Framework of Influence and Action in Orchestral Performance that offers a new way of conceptualising authorship in performance through a 'theory of influence'. It concludes with an exploration of the implications of this revised view of authorship for existing orchestral practices, group creativity research, and our understanding of how the relationships enacted in the micro-socialities of orchestral performance reflect larger social formations.
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Chen, Chen. "Development of the western orchestra in China." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118237.
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The subject of this study is the historical development of a vehicle for a form of western art (the orchestra) in China from 1840 to the present. The writer was primarily concerned with how the orchestra developed in broad socio-economical, political-cultural, and historical contexts with an emphasis on elaborating certain conditions responsible for the specific features of this development. The following major aspects of the development of the orchestra in China are discussed:1)The uniqueness of China's culture before accepting western culture;2)Reason and procedures by which China accepted western music and its orchestra;3)The social change in the 1950s which affected the function of the orchestra in China;4)The influence of political movements and individual roles on the development of the orchestras in China;5)The emergence of the orchestra as a cultural symbol during China's modernization;6)The fact in which the orchestra become a cultural symbol during China's modernization;7)Roles and functions of the orchestra during the cultural merging of China and the West;8)The future of the orchestra in China.The purpose of this study is to confirm the cultural assimilation of the western orchestra as a world-wide trend, one in which East and West enrich one another.School of Music
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Roberts, Brian Alan. "The social construction of 'musician' identity in music education students in Canadian Universities." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2141.
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This research concerns itself with the development of a theory in the grounded tradition to account for the social construction of an identity as musician by music education students in Canadian universities. The principal data gathering techniques were semi- and unstructured interviews and participant observation, first at the Faculty of Education and the Faculty of Music, University of Western Ontario with further periods of interviewing at the University of Alberta and the University of British Columbia. The pilot study was conducted at Memorial University of Newfoundland where the author was, at the time of writing, an Associate Professor and Co-ordinator of Music Education in the Faculty of Education. Data collection and analysis were completed simultaneously and the interviewing became more focused on emerging categories and their properties, particularly concerning the construction of identity. The core categories discussed concern the apparent sense of isolation and the development of a symbolic community in the music school, as suggested by Cohen (1985). Further core analytic categories include the music education students' perceptions of Others as outsiders to their own insider symbolic community, and the students' perception of social action, including the notion of deviancy, which contributes to their construction of this symbolic closed community. An examination of models of social action is undertaken. The notion of making points as suggested by Goffman (1967) provides a beginning model for the identification and accumulation of status points which students appear to use in the process of identity construction and validation. Further discussion examines the nature of the music education sub-group as a stigmatized group. The nature of the category musician is examined and substantial comparison and contrasting with the position presented by Kingsbury (1984) is undertaken. The analytical categories of talent and music as in-group constructs are examined. Finally the processes of Self-Other negotiation on are explored and a theory is developed to account for the construction and maintenance of musician identity. The emerging theory borrows extensively from those analyses of the roots of social interaction recognised in the labelling tradition which are concerned with the construction of identity in negotiation with Others, and most specifically draws upon the notion of societal reaction. The research is guided by those theories and methodologies generated by symbolic interactionism developed by writers such as Blumer, Meltzer and Denzin and follows the traditions of sociological research in educational settings by such writers as Baksh, Martin and Stebbins in Canada, and Hargreaves, Woods, Ball, Hammersley and Lacey in the U.K.
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Dick, Terence. "Functional music and consumer culture (instrumental version)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0008/MQ30210.pdf.
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Berkland, Darren Gary. "Androcentrism and misogyny in late twentieth century rock music." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1021199.
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Judith Butler’s writings on gender ostensibly changed the way gender is considered with regard to an individual’s subjectivity. Her writings expressed a discursive parameter that changed the theoretical standpoint of gender from that of performance, to that of performativity. In short, the notion of gender became understood as a power mechanism operating within society that compels individuals along the heteronormal binary tracts of male or female, man or woman. Within the strata of popular culture, this binarism is seemingly ritualized and repeated, incessantly. This treatise examines how rock music, as a popular and widespread mode of popular music, exemplifies gender binarism through a notable ndrocentrism. The research will examine how gender performativity operates within the taxonomy of rock music, and how the message communicated by rock music becomes translated into a listener’s subjectivity.
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Holbrook, Benjamin Scott. "Music and the Movement: Understanding Occupy Wall Street." Digital Commons @ Butler University, 2017. https://digitalcommons.butler.edu/grtheses/489.
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On September 17, 2011, protestors set up camp in Zuccotti Park in New York's financial district, initiating a 59-day social and political movement known as Occupy Wall Street. Writing about the protest, James C. McKinley Jr. of the New York Times declared that the movement "lacks a melody" compared with protest movements of the previous century. Despite the common perception that little music accompanied the movement, organizers released Occupy This Album: 99 Songs for the 99%, a collection of songs connected with, written for, or written about the Occupy Wall Street movement. This thesis investigates the place of Occupy Wall Street in society through its musicking and through Occupy This Album: 99 Songs or the 99%. Building upon the sociomusicological work of R. Serge Denisoff and the work of Garth S. Jowett and Victoria O'Donnell, I propose a framework for a categorization of songs through their lyrical content and apply it to the music found on Occupy This Album. Then, using this framework, I determine the potential "progressiveness" of Occupy Wall Street through the modernization theory of Talcott Parsons. I contend that Occupy this Album: 99 Songs for the 99% shows Occupy Wall Street to be a modernizing movement as indicated through its large output of propaganda songs, showing a commitment to communication of diverse knowledge and ideologies and a generalization of value sets. This analysis and its conclusion situate Occupy Wall Street in society through its musical output rather than through its cultural and political effects
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Smit, B. L. "Knowledge and perceptions of University of Limpopo (Turfloop Campus) undergraduate students towards mental illness." Thesis, University of Limpopo, 2018. http://hdl.handle.net/10386/2338.
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Thesis (M. A. (Clinical Psychology)) --University of Limpopo, 2018Current understandings of mental illness are deeply rooted in a predominantly westernised paradigms of mental health. Constructs such as mental illness have been found to be socially constructed and rooted in historical contexts and informed by cultural and societal influences. Most of the existing research conducted on the knowledge and perceptions of tertiary-educated individuals towards mental illness have been quantitative in nature. The aim of this study was to qualitatively explore the knowledge and perceptions of undergraduates using Social Representation Theory as a theoretical framework. Purposive sampling was utilised to draw a sample of 16 undergraduate students between the ages of 18-25 years, at the University of Limpopo (Turfloop Campus). Thematic Content Analysis (TCA) was used to analyse the semi-structured interviews which were used to collect data. The results of this study found that negative views and perceptions existed amongst the sample pertaining to mental illness and the mentally ill. It was also found that participants conceptualisations of mental illness were not wholly western or traditionally African. Participants perceptions were informed through their cultural and social experiences with the mentally ill. Generally, the study pointed towards a greater need for psycho-education on mental illness.
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Wong, Chi-chung Elvin, and 黃志淙. "The working of pop music culture in the age of digital reproduction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44140101.
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Laplante, Audrey. "Everyday life music information-seeking behaviour of young adults: an exploratory study." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22017.
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The aim of this qualitative research was to contribute to a richer understanding of the everyday life music information-seeking behaviour of young adults. The objectives were (1) to uncover the strategies and sources young adults use to discover new music artists or genres, (2) to understand what motivates young adults to engage in information-seeking activities, and (3) to explore what clues young adults look for in music items to make inferences about the relevance or utility of these items.Fifteen young adults (18 to 29 years old) of the French-speaking Montreal Metropolitan community participated in this study. The data were collected through in-depth semi-structured interviews. Drawing on the research on shopping behaviour and music behaviour, Wilson's 1996 model of information behaviour has been revised and used to guide data collection and analysis. The data were analyzed inductively, using the constant comparative method.The analysis revealed that the participants had a strong penchant for informal channels (i.e., friends, colleagues, relatives) and low trust of experts (i.e., librarians, reviewers, music store staff). It also emerged that music discoveries were often the result of passive behaviour. When music was actively sought, it was rarely a goal-oriented activity. Indeed, it was mostly the pleasure they took in the activity itself – the hedonic outcome – that motivated them to look for music rather than an actual information need. Related to that, browsing, which is best suited for non-goal oriented information seeking, was a very common strategy among participants.The study also revealed that rich metadata, such as bibliographic information, associative metadata, recommendations, and reviews, were highly valued by the participants. In addition to allowing people to browse music in different ways, these metadata represent valuable information that is used to make inferences about the type of experience a music item proposes. ParticipaLe but de cette recherche qualitative est de contribuer à une meilleure compréhension du comportement dans la recherche de musique des jeunes adultes dans la vie de tous les jours. Les objectifs étaient de comprendre (1) les stratégies et les sources que les jeunes adultes utilisent pour découvrir de nouvelles musiques; (2) ce qui les motive à entreprendre des recherches afin de découvrir de nouvelles musiques; et (3) la façon dont ils s'y prennent pour évaluer la pertinence ou l'utilité d'enregistrements musicaux.Quinze jeunes adultes (âgés entre 18 et 29 ans) francophones de la région du Montréal métropolitain ont participé à cette étude. Les données ont été collectées au moyen d'entretiens semi-structurés en profondeur. En s'appuyant sur la recherche sur les habitudes de magasinage et sur le comportement musical, le modèle de comportement informationnel développé par Wilson en 1996 a été modifié. C'est ce modèle qui a guidé la collecte et l'analyse des données. Les données ont été analysées de façon inductive, en utilisant la méthode d'analyse par comparaison constante.L'analyse a montré que les participants avaient une préférence marquée pour les sources d'information informelles (amis, collègues, famille) et une confiance limitée envers les experts (bibliothécaires, critiques, disquaires). Il est également apparu que leurs découvertes musicales étaient souvent le résultat d'un comportement passif. De plus, quand ils recherchaient activement de la musique, il s'agissait rarement d'une activité orientée vers un but précis. En effet, il s'est avéré que c'était davantage le plaisir qu'ils prenaient dans l'activité – le résultat hédonique – qui les motivait à entreprendre des recherches plutôt qu'un véritable besoin d'information. De la même façon, le bouquinage, qui constitue une méthode particulièrement appropriée pour rechercher de l'information sans but précis, était très populaire chez
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Leung, Lai-yue Ciris, and 梁麗榆. "The social organization of a Cantonese opera performance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29751093.
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Murdock, Mervin Charles. "An Investigation of the Relationship Between Seventh, Tenth, and Twelfth Graders' Participation in School Choir and Their Perceived Levels of Self-Concept and Social Support." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332715/.
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The purpose of this study was to investigate the relationship between seventh, tenth, and twelfth graders' participation in school choir and their perceived levels of self-concept and social support. The problems of the study were to determine (1) if there were significant differences in perceived self-concept and social support levels of choir members and non-music students, and (2) if there were significant changes in self-concept and social support of choir members from grades seven to ten to twelve. A secondary concern was school activity involvement, to guard against attributing significant differences of self-concept and social support to choir participation alone.
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Iwamasa, Dawn A. "The effect of music-assisted relaxation training on measures of state anxiety and heart rate under music performance conditions for college music students." Scholarly Commons, 1998. https://scholarlycommons.pacific.edu/uop_etds/2324.
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The purpose of this study was to examine the effects of a music-assisted relaxation training program as a treatment method for college music students suffering from performance anxiety. A total of 40 participants were randomly assigned to the experimental (n=20) and wait-list control (n=20) groups. The experimental group received six music-assisted relaxation training sessions while the wait-list control group received no contact. Dependent measures included pre- and post-test State Trait Anxiety Inventory (ST AI) scores and heart rate measurements during individual jury examinations (performance condition).
Results found no differences in ST AI scores and heart rate measurements between groups. Factors such as years of formal training and memorization of performance showed no differences in dependent measures. The experimental group rated their performance quality as significantly higher than the wait-list control group.
All participants who received the relaxation training program felt they benefited from it, and_ found it helpful in feeling more "in control" and "focused on their music" during performances.
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Ball, Rebecca Elizabeth. "Portland's Independent Music Scene: The Formation of Community Identities and Alternative Urban Cultural Landscapes." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/126.
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Portland has a rich, active, and fluid music culture which is constantly being (re)created and (re)defined by a loose network of local musicians who write, record, produce, promote, distribute, and perform their music locally (and sometimes regionally, nationally, and internationally) and local residents, or audiences, who engage in local musical practices. Independent ("indie") local music making in Portland, which is embedded in DIY (do it yourself) values, creates alternative cultural places and landscapes in the city and is one medium through which some people represent themselves in the community. These residents not only perform, consume, promote, and distribute local music, they also (re)create places to host musical expressions. They have built alternative and democratic cultural landscapes, or culturescapes, in the city. Involved Portlanders strive to make live music performances accessible and affordable to all people, demonstrating through musical practices that the city is a shared space and represents a diversity of people, thoughts, values, and cultural preferences. Using theoretical tools from critical research about the economic, spatial, and social role of cultures in cities, particularly music, and ethnographic research of the Portland music scene, including participant observations and in-depth interviews with Portland musicians and other involved residents, this research takes a critical approach to examining ways in which manifestations of independent music are democratic cultural experiences that influence the city's cultural identity and are a medium through which a loosely defined group of Portlanders represent their cultural values and right to the city. In particular, it focuses on how local musical practices, especially live performances, (re)create alternative spaces within the city for musical expressions and influence the city's cultural landscapes, as well as differences between DIY independent music in Portland and its commodified forms and musicians and products produced by global music industry.
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Gitonga, Priscilla Nyawira. "Music as social discourse : the contribution of popular music to the awareness and prevention of HIV/AIDS in Nairobi, Kenya." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/962.
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This dissertation is a critical, theoretical study focussing is on the contribution that popular music makes towards raising awareness and promoting the prevention of HIV/Aids in Nairobi, Kenya. Towards this end, an analysis of the lyrics and musical gestures of four Kenyan pop music songs is undertaken in order to highlight their communicative capabilities in this regard. These songs, namely, are Lulumbe by Wasike wa Musungu, Juala by Circute and Jo-el, Vuta Pumz by The Longombas, and Dunia Mbaya Chunguze by Princess Jully. The context in which these musical analyses occur is provided in: - An overview of the Kenya of today, in particular that of the diverse and hybrid ethnic, linguistic, musical and cultural practices of Nairobi, and of the various youth cultures in that city, as well as in an overview of the extent of the HIV/Aids pandemic in Kenya, especially amongst the youth of Nairobi, with some reflection on existing interventions. - An overview of current trends in popular music analysis and an explanation of the author’s own eclectic semiotic analytical methodology within this context. The study concludes that a repeating strategy may be discerned on the part of the composers and performers in question, namely, to first engage audiences through language and music with which they are familiar, and then to encourage audiences to confront the unknown and unfamiliar in music and language, but also ultimately in terms of their social practices. The known and the familiar is highlighted both in the lyrics and in the music itself. It includes use of commonlyspoken languages and dialects, popular musical styles typical of the particular sub-culture, and references to the day-to-day experiences of the ordinary person.
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Hambridge, Katherine Grace. "The performance of history : music, identity and politics in Berlin, 1800-1815." Thesis, University of Cambridge, 2013. https://www.repository.cam.ac.uk/handle/1810/283937.
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Stahl, Geoff. "Troubling below : rethinking subcultural theory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43954.pdf.
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Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.
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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.
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Southcott, Jane Elizabeth, and mikewood@deakin edu au. "Music in state-supported schooling in South Australia to 1920." Deakin University, 1997. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050915.104134.
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This thesis is a study of the establishment of the music curriculum in state-supported schools in South Australia from the beginnings of such schooling until 1920. There will be a discussion of issues to be explored and the method by which this investigation will proceed. A literature survey of relevant research will be included, after which there will be a sketch of the development of state-supported schooling in South Australia. Several broad themes have been chosen as the means of organising the historical material: the rationales offered for the inclusion of music in schooling, the methodologies, syllabi and materials of such music instruction, the provisions for teacher training in music, both preservice and as professional development for established teachers, and the place and function of music in schooling. Each of these themes will form the framework for a chronological narrative. Comparisons will be made with three neighbouring colonies/States concerning each of these themes and conclusions will be drawn. Finally, overall conclusions will be made concerning the initial contentions raised in this chapter in the light of the data presented.
Although this study is principally concerned with the establishment of music in state-supported schooling, there will be a brief consideration of the colony of South Australia from its proclamation in 1836. The music pedagogical context that prevailed at that time will be discussed and this will, of necessity, include developments that occurred before 1836. The period under consideration will close in 1920, by which time the music curriculum for South Australia was established, and the second of the influential figures in music education was at his zenith. At this time there was a new school curriculum in place which remained essentially unchanged for several decades.
As well as the broad themes identified, this thesis will investigate several contentions as it attempts to chronicle and interpret the establishment and development of music in state-supported schooling in South Australia up to 1920. The first contention of this thesis is that music in state-supported schooling, once established, did not change significantly from its inception throughout the period under consideration. In seeking a discussion of the existence and importance of the notion of an absence of change or stasis, the theory of punctuated equilibria, which identifies stasis as the norm in the evolutionary growth of species, will be employed as an insightful analogy. It should be recognised that stasis exists, should be expected and may well be the prevailing norm.
The second contention of this thesis is that advocates were and continue to be crucial to the establishment and continued existence of music in state-supported schooling. For change to occur there must be pressure through such agencies as motivated individuals holding positions of authority, and thus able to influence the educational system and its provisions. The pedagogical method introduced into an educational system is often that espoused by the acknowledged advocate. During the period under consideration there were two significant advocates for music in state-supported schools.
The third contention of this thesis is that music was used in South Australia, as in the other colonies/States, as an agent of social reform, through the selection of repertoire and the way in which music was employed in state-supported schooling. Music was considered inherently uplifting. During the nineteenth and early twentieth centuries, the music selected for school singing carried texts with messages deemed significant by those who controlled the education system. The repertoire was not that of the receiving class but came from a middle class tradition of fully notated art music in which correct performance and notational reading were emphasised. A sweet, pure vocal tone was desired, as strident, harsh, speaking tones were perceived as a symptom of incipient larrikinism which was not desired in schooling. Music was seen as a contributor to good order and discipline in schooling.
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Moore, Christopher Lee. "Music in France and the Popular front (1934-1938) : politics, aesthetics and reception." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102813.
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The French Popular Front was a coalition of left-wing political parties (Communists, Socialists, and Radicals) united through a common desire to combat fascism and improve the living conditions of France's workers. Between 1935 and 1938, the ideology of the Popular Front, largely informed by that of the Parti Communiste Francais (PCF), exerted tremendous influence on the cultural life of the French nation. Many cultural and musical organizations heeded the Popular Front's call for broad-based anti-fascist solidarity among intellectuals, artists, and the working class. In the realm of culture, this translated into multiple initiatives designed to bring art to the masses and to encourage the proletariat to become more active in the cultural life of the nation.Sympathetic to the Popular Front's larger political aims, a number of French musicians and composers became affiliated with the Communist-sponsored Maison de 1a Culture and its affiliated musical organizations, the most prominent of which was the Federation Musicale Populaire (FMP). They participated in the administrative, cultural and intellectual life of the FMP; they took part in conferences, wrote articles on the theme of "music for the people," and were advocates for the organization within French musical life at large. Furthermore, these composers wrote works for government-commissioned events, for amateur groups, and for spectacles designed for mass audiences.
Some of the FMP's most prominent proponents (Darius Milhaud, Georges Auric, and Arthur Honegger) were former members of Les Six, a group that had been particularly interested in borrowing music derived from "popular" sources like the music hall and the circus following World War I. This study argues that the aesthetic approach of Les Six, which found support in FMP presidents Albert Roussel and Charles Koechlin, was reinvigorated during the Popular Front for a much more clearly defined political purpose. While the general interest in "popular" sources was still maintained, composers at the FMP now sought to integrate folklore and revolutionary music into their works "for the people" in an attempt to create and underline cultural links between workers and intellectuals---a compositional approach for which this dissertation coins the expression "populist modernism."
This study, the first book-length examination of French musical culture in light of Popular Front politics, concentrates on some of the period's most significant populist modernist works and draws upon contemporaneous journalistic coverage and archival documents that in many cases have hitherto never been the object of musicological study. The research shows that in 1936, following an initial infatuation with the genres and styles of socialist realist Soviet works, French left-wing composers developed a more inclusive view of what constituted music "for the people." Composers continued to write music indebted to politically resonant popular sources like folklore and revolutionary songs, but they also drew upon these genres in works (like the collaborative incidental music for Romain Rolland's Le 14 Juillet) that employed modernist compositional techniques. Though this approach was most obviously felt in the numerous works composed for organizations like the FMP, populist modernism also emerged in works performed at the Theatre de l'Opera-Comique and the 1937 Paris Exposition. By cutting across musical genres as well as institutional and social contexts, populist modernism emerges as the dominant aesthetic trend in French music during the years of the Popular Front.
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Jeppie, Shamil. "Aspects of popular culture and class expression in inner Cape Town, circa 1939-1959." Thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/24109.
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Sowle, Jennifer. "The castrato sacrifice was it justified /." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/August2006/Open/sowle_jennifer_ruth/index.htm.
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Morokolo, Mokgetle. "A critical analysis of dinaka : a Moletjie Village case study." Diss., 2014. http://hdl.handle.net/11602/167.
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Hlungwani, Hasani Richard. "Nxopaxopo wa vuyimbeleri bya matswa bemuda hi ku kongomisa eka nkongomelo, nkoka na a matirhiselo ya ririmi erixakeni ra Vhatsonga." Diss., 2016. http://hdl.handle.net/11602/404.
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Sikazwe, Nondo-Jacob. "Hear space, see music: experiencing collective culture by experiencing music." Thesis, 2016. http://hdl.handle.net/10539/21144.
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A research report submitted to the Faculty of Engineering and the Built Environment, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Architecture (Prof), 2016‘Africa United in Cultural Diversity’ is what is written in bold on a musical event poster outside Home Affairs, during the 2015 xenophobic riots in Johannesburg. In smaller writing it says ‘Opening the doors of learning and culture from Cape to Cairo ’.This thesis is an exploration of how music can act as a universal medium of engagement in an urban space, where interactions between an African diasporic and the local communities can occur. The thesis discusses the relationship between inclusiveness and civic life through Sociologist Ray Oldenburg’s hypothesis of The Third Place (A place between home and work that is critical to the cohesion of diverse society). I also look at ethnomusicologist Ruth Stone`s work on the development of cultural music traits in Central and Southern Africa. Additional I speak to famed composers and performer of traditional Southern African music Dizu Plaatjies. What emerges from this research is a unifying musical pattern (Keita`s Asymmetric Timeline) that mirrors the qualities of The Third Place in its engagement with the inhabitants of the city and sense of the familiar amongst the general public. My building design process then demonstrates that through the use of these two, a spatial and networked experience of African culture can be created in the city. Informing a place where a dialogue of understanding between an African diasporic and the local communities can begin to occur. This place provides an exciting opportunity for designing the way that production and engagement of vernacular music is used as unifying source in shaping The Third Place as a musical performance venue.
MT2016
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Gonzalez, Melissa. ""Cien por Ciento Nacional!" Panamanian Música Típica and the Quest for National and Territorial Sovereignty." Thesis, 2015. https://doi.org/10.7916/D8319TTD.
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This dissertation investigates the socio-cultural and musical transfigurations of a rural-identified musical genre known as música típica as it engages with the dynamics of Panama's rural-urban divide and the country's nascent engagement with the global political economy. Though regarded as emblematic of Panama's national folklore, música típica is also the basis for the country's principal and most commercially successful popular music style known by the same name. The primary concern of this project is to examine how and why this particular genre continues to undergo simultaneous processes of folklorization and commercialization. As an unresolved genre of music, I argue that música típica can offer rich insight into the politics of working out individual and national Panamanian identities.
Based on eighteen months of ethnographic fieldwork conducted in Panama City and several rural communities in the country's interior, I examine the social struggles that subtend the emergence of música típica's genre variations within local, national, and transnational contexts. Through close ethnographic analysis of particular case studies, this work explores how musicians, fans, and the country's political and economic structures constitute divisions in regards to generic labeling and how differing fields of musical circulation and meaning are imagined.
This study will first present an examination of late nineteenth and twentieth century Panamanian nationalist discourses in order to contextualize música típica's stylistic and ideological development as a commercial genre of popular music. The following chapter will construct a social history of música típica that takes into account the multiple historical trajectories that today's consumers and producers engage, negotiate, and contest in an attempt to ascribe social and cultural meaning to the role the genre assumes in contemporary discourses of national identity. Processes of folkloric canonization and reconstruction will then be examined in order to understand how the marketing efforts of the Panamanian government draw on a discourse of nationality. The role of corporate sponsorship in today's música típica scene will also be investigated, specifically addressing how the marketing of this genre by beer companies, national cultural festivals, and the Panamanian television industry builds on a foundation of commercial music practices. Subsequent chapters will focus on the local and transnational dynamics of genre formation and dissolution as revealed in the ideological discourses and socio-musical practices of música típica's practitioners, especially in accordion and vocal performance practices. An analysis of música típica's field of cultural production, with its particular mappings of identity, place, and sound, will provide insight into Panamanian modernity and the social experiences of Panamanians, especially within Latin American and global contexts.
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"Exploring the spaces for a voice: the noises of rock music in China (1985-2004)." Thesis, 2006. http://library.cuhk.edu.hk/record=b6074261.
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Apart from politics and market, ideology was a significant factor in the realm of rock music. Upholding an ideology that focused on individuality and autonomy, and epousing a set of aesthetic value that placed emphases on live performance: how to maintain a balance between autonomy from politics and adaptation to market tastes became a question for both rock artists and the culture industry, a topic of which will be examined in the dissertation.At the same time, this paper examined the struggle of rock artists against the official constraints and prohibitive coding via rock lyrics, the visual, the music, the body as well as the theatrical performance.
Finally, this paper explores how rock artists and the rock industry turned to alternative spaces for projecting their causes: the Internet, the underground music network and the realm of piracy, spaces where interferences from both the state and the market were minimum.
It also took as its study why rock music was a noise in the market and how rock labels contested for a space in the market which had been plagued by piracy and lack of protection for intellectual property rights. It at the same time explored the ways rock companies attempted to make the books balanced in operating the rock music business in a market where rock fans only constituted a marginal audience.
It looked at how the government imposed control and prohibition on the publishing, performance and dissemination of rock music which it perceived as an alien noise. For this, interviews had been held with personnel from the official apparatuses, the culture industry, the mass media as well as the rock artists and musicians, in a way to understand why rock was rarely heard on the radio or performed on television; why rock music became a term rarely appeared in the official press; and why rock was not allowed to mingle with official discourse like party songs or national anthem; and in what ways the contents of songs as well as the visuals on album covers were censored; and how the government controlled the speech, acts and dress of rock artists on stage.
This paper concludes with the view that despite the many constraints encountered by rock music in the realm of both the state and the market, rock music as a cultural space did not totally lose its freedom, autonomy or integrity. It adopted a mode of communication which is hinged on the non-verbal, the second-order signification, the hidden and the symbolic. It utilised a strategy which avoids direct antagonism with the political regime, and sought outlets for its own messages and meanings.
This paper started by examining how rock music had been transformed into a genre distinguished with its ideology and aesthetics in a socialist country where politics and economy weighed equally significant.
This study took rock music as a cultural space that reflected a larger political and economic environment in China, where it had been marginalized and segregated as a noise by both the state and the market.
Wong Yan Chau Christina.
"September 2006."
Adviser: Joseph Man Chan.
Source: Dissertation Abstracts International, Volume: 68-03, Section: A, page: 0783.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in English and Chinese.
School code: 1307.
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Ntaka, Mfundo Goodwill. "Music as culture, music in culture: an analytical." Thesis, 2007. http://hdl.handle.net/10530/868.
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Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy in the Department of IsiZulu Namagugu at the University of Zululand, 2007.Music plays a vital role in African cultures and permeates all the spheres of life. Music is part and parcel of culture in African societies. Music informs culture, and culture also informs music. The study of African music using the comparative approach was fraught with numerous pitfalls and shortcomings. Music was studied in isolation, which led to a misconstrued picture of African music. This study has thus employed the ethnomusicological approach. The ethnomusicological approach ensures that music is analysed taking into consideration the cultural context of music. This study looks at mbaqanga music as culture and in culture. The history of mbaqanga music is, thus, analysed taking into account all the factors that impacted on its evolution. The first chapter serves as a background to this study. It deals with the aims of this research and the definition of terms. It also deals briefly with the research methodology employed in this study. The second chapter focuses on a literature review and analytic models. It also looks at the emergence of ethnomusicology as a discipline. It focuses on music as culture and music in culture, and, moreover, it looks at the types of popular music. The third chapter deals with the historical background of mbaqanga music. Genres such as marabi and kwela music are briefly discussed. The political and socio-cultural context of mbaqanga music is discussed. The role of musicians and the media in the development of mbaqanga music is also discussed. The fourth chapter deals with research methodology in detail. This chapter also focuses on the details related to data collection. The fifth chapter deals with the analysis and interpretation of data. It looks at findings from interviews conducted and the analysis of song texts. The sixth chapter offers recommendations and a summary of the findings.
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"Rock music and hegemony in China." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5887223.
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by Wong Yan Chau, Christina.Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.
Includes bibliographical references (leaves 175-186).
Chapter I. --- Introduction --- p.2
Chapter II. --- Historical Background --- p.5
Chapter III. --- A Review of the Related Literature --- p.14
Chapter A. --- The Culture Industry Approach --- p.15
Chapter B. --- The Liberal-Pluralist Approach --- p.26
Chapter C. --- The Technological Approach --- p.31
Chapter IV. --- The Theoretical Perspective --- p.36
Chapter V. --- Methodological Approach to Study --- p.42
Chapter A. --- Content Analysis of Lyrical Messages --- p.42
Chapter 1. --- Method --- p.42
Chapter 2. --- Data --- p.43
Chapter 3. --- Analytic Framework of the Textual Analysis --- p.45
Chapter B. --- Analysis of Rock Music within Hegemony --- p.48
Chapter 1. --- Method --- p.48
Chapter 2. --- Data --- p.50
Chapter VI. --- Meanings in Rock Music --- p.52
Chapter A. --- Themes in each fictional mode --- p.52
Chapter B. --- Thematic content of Rock Music --- p.54
Chapter 1. --- The Ironic Mode --- p.54
Chapter 2. --- The Mimetic Mode --- p.64
Chapter a. --- Phenomena of Identity Crisis --- p.64
Chapter i. --- Loss of direction --- p.65
Chapter ii. --- Roots-seeking --- p.68
Chapter iii. --- Alternating identity --- p.69
Chapter iv. --- Alienation --- p.71
Breakaway --- p.71
A Stranger in the City --- p.74
Chapter b. --- Outlook on Life --- p.76
Chapter c. --- Social Problems --- p.79
Chapter i. --- War --- p.79
Chapter ii. --- Incivility --- p.81
Chapter d. --- The Experience of Growing Up --- p.82
Chapter i. --- Anti-patriarchism --- p.82
Chapter ii. --- Wandering --- p.83
Chapter iii. --- The Loss of Childhood --- p.84
Chapter e. --- Love --- p.85
Chapter i. --- Yearning for love --- p.85
Chapter ii. --- Frustrations with love --- p.86
Chapter iii. --- Wild love --- p.88
Chapter iv. --- Inauthentic love --- p.90
Chapter 3. --- The Leadership Mode --- p.93
Chapter a. --- The Exploratory Spirit --- p.93
Chapter b. --- Individuality and Non-Conformity --- p.96
Chapter c. --- The Authentic Self --- p.98
Chapter 4. --- The Romantic Mode --- p.102
Chapter a. --- Nostalgia for a Glorious Past --- p.102
Chapter b. --- Anarchy in the Demonic World --- p.105
Chapter c. --- Union with nature --- p.107
Chapter d. --- The Pastoral Utopia --- p.111
Chapter e. --- Fictional Characters and Objects Speaking --- p.112
Chapter 5. --- The Mythic Mode --- p.117
Chapter C. --- The World View of Rock Music --- p.120
Chapter VII. --- The Relations of Rock Music to Hegemony --- p.125
Chapter A. --- Messages of Rock and the Hegemony --- p.125
Chapter B. --- Music as a Contested Terrain --- p.130
Chapter 1. --- The Hegemonic Power: Cooptation and Marginalization --- p.130
Chapter 2. --- The Deviant Culture: Struggle by Means of adaptation and negotiation --- p.140
Chapter VIII. --- Conclusion --- p.155
Chapter IX. --- Limitations of the Study --- p.158
Chapter X. --- Future Studies on Rock Music --- p.161
Notes --- p.165
Bibliography --- p.175
Discography --- p.185
Appendix 1. The Sample of Rock Songs --- p.187
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Calle, Simón. "Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect." Thesis, 2012. https://doi.org/10.7916/D893117S.
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This dissertation analyses identity formation through music among contemporary Colombian musicians. The work focuses on the emergence of musical fusions in Bogotá, which participant musicians and Colombian media have called "nueva música Colombiana" (new Colombian music). The term describes the work of bands that assimilate and transform North-American music genres such as jazz, rock, and hip-hop, and blend them with music historically associated with Afro-Colombian communities such as cumbia and currulao, to produce several popular and experimental musical styles. In the last decade, these new fusions have begun circulating outside Bogotá, becoming the distinctive sound of young Colombia domestically and internationally. The dissertation focuses on questions of musical circulation, affect, and taste as a means for articulating difference, working on the self, and generating attachments others and therefore social bonds and communities. This dissertation considers musical fusion from an ontological perspective influenced by actor-network, non-representational, and assemblage theory. Such theories consider a fluid social world, which emerges from the web of associations between heterogeneous human and material entities. The dissertation traces the actions, interactions, and mediations between places, people, institutions, and recordings that enable the emergence of new Colombian music. In considering those associations, it places close attention to the affective relationships between people and music. In that sense, instead of thinking on relatively fixed and consistent relationships between music, place, and identity, built upon discursive or imagined ties, the work considers each of these concepts as a network of relations enmeshed with each other and in consistent re-articulation.
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McFarlane, Lloyd. "Feast or Famine: Harvest yields, sustainable livelihoods and climate variability in Vhembe district, Limpopo, South Africa." Thesis, 2017. http://hdl.handle.net/10539/23590.
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Thesis (M.Sc. (Interdisciplinary Global Change Studies))--University of the Witwatersrand, Faculty of Science, School of Geography, Archaeology & Environmental Studies, 2017.The objective of the thesis was to determine the relationship between climate variability and rural livelihoods in the Vhembe District Municipality situated in the extreme north of South Africa. These relationships ranged between food and nutritional security, land tenure, financial security, domestic politics and their impacts on human well-being in terms of the Sustainable Livelihoods Framework. The thesis uses a multi-discipline approach to assess the socio-economic outcomes of poor support to rural households that are struggling to attain an acceptable standard of living in the face of increasing challenges brought about by climate change. It also looked to investigate the capacity of rural households to adapt to the challenges of living in such an area. Results were obtained through questionnaires and basic interviews conducted among the residents of three selected areas in the Vhembe District of South Africa. The results demonstrate that residents of Vhembe go through daily suffering as a result of poor support and assistance in adapting to the challenges of climate change in the area and its impact on their livelihoods. The on-going academic literature suggests that integrated livelihood resilience is essential to adaptation to climate variability and that this can reduce the vulnerability of these areas. It also calls for the development and maintenance of effective local institutions supported by public private partnerships. Gaps identified in the literature suggested that more knowledge on land use change caused by seasonal variability as a result of the El Niño Southern Oscillation was needed as well as the prevalence of indigenous knowledge systems in adapting to these changes. It was found that local knowledge and effective local institutions were not as prevalent as expected in achieving livelihood adaptation. Some key findings were that 59% of households did not have access to arable land with 49% of respondents stating that they did not plant crops in the recent season due to the poor rains experienced. Furthermore, the reliance on social grants was notably high with 32% of respondents relying on these. Some residents who cannot pay to have access to electricity are forced to collect or buy firewood for everyday use. Furthermore, only 9% of respondents stated that they had access to flush toilets. These issues are shown to have environmental and other social consequences in the target communities. The thesis concludes that management of natural resources in Vhembe needs to be improved, as these are potential safety nets for the rural poor. It also suggests that there will need to be more support by government and business to set up beneficial agricultural projects to sustainably grow inclusive prosperity for rural residents of the Vhembe District. Key Words: Climate Variability, Sustainable Livelihood Framework, Adaptive Capacity
XL2018
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Malatji, Edgar Julius. "The impact of social media in conserving African Languages amongst youth in Limpopo Province." Thesis, 2019. http://hdl.handle.net/10386/2921.
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Thesis (Ph.D. (Media Studies)) -- University of Limpopo, 2019This study focuses on the impact of social media towards conserving African languages, particularly Sepedi, Tshivenda and Xitsonga. Social media are given attention to explore their impact in conserving African languages amongst youth. Youth is a suitable group to focus on as they are the future and are thus expected to carry their African languages and pass them on to succeeding generations. This exercise should be done to ensure that African languages should not face extinction in the future. Generally, youth are constant users of social media platforms, hence it is cardinal to investigate their language-usage patterns on social media platforms. The majority of the African youth in South Africa use either one or more of the nine (9) indigenous African languages that are official, namely, isiNdebele, isiXhosa, isiZulu, Sepedi, Sesotho, Setswana, siSwati, Tshivenda, and Xitsonga. Therefore, one would expect speakers of these indigenous African languages to effectively use them on social media, particularly, Facebook, Twitter, and WhatsApp. African language heritage is undoubtedly a valuable resource, however, it needs state resources to develop it further and establish it as a core economic driver on various media platforms. The study employs exploratory and descriptive designs. These designs are appropriate for this study because it permits data to be collected through observations, focus group interviews and questionnaires. Focus group interviews, observations, and questionnaires were used to collect data. Focus group is a data-collection tool for understanding people’s behaviour and attitudes. The researcher moderated three focus groups. One hundred (100) questionnaires were distributed to the participants in this study. These tools are apt for the data-collection process in this study because they assist to discover factors that influence opinions, attitudes, and behaviours. Social media have great potential to conserve the African languages but the speakers of these languages should play a cardinal role in this process. Majority of the youth do not prefer to use the African languages on social media. Conversations on both Facebook and Twitter are dominated by English as youth prefer it ahead of Sepedi, Tshivenda, and Xitsonga. In contrast, youth prefer to use the African languages on WhatsApp because they know their contacts. However, code-switching is used a lot by youth on social media. Despite the fact that Sepedi, Tshivenda, and Xitsonga are not mostly used on Facebook and Twitter they remain relevant and useful amongst their speakers on a daily basis. Nevertheless, there is a need to develop the African languages based social media sites to stimulate their usage on these platforms. Additionally, these languages should be developed to fit the needs of social media.
National Institute for the Humanities and Social Sciences (NIHSS)
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Higgins, Nicholas Andreas. "Confusion in the Karnatic Capital: Fusion in Chennai, India." Thesis, 2013. https://doi.org/10.7916/D8B56RXB.
Full textAbstract:
This dissertation examines how a contested musical practice makes the problems of modernity in India audible. In particular, I look at the relationship between South Indian "fusion" musicians and India's recent economic and cultural growth attributed to the economic reforms of 1991. Fusion is the local name for a musical practice that combines South Indian classical music with elements from rock, jazz, and world music. During thirteen months of ethnographic fieldwork carried out in the South Indian city of Chennai between 2006-8, I attended countless concerts, interviewed dozens of people involved with musical production, and performed with musicians. I observed how musicians and audiences perpetuated the idea that fusion was contested and I documented the local debates that often expressed a deep uncertainty and ambiguity about the legitimacy of fusion. What can a contested musical practice reveal about the recent economic and cultural changes in contemporary urban India? Fusion is contested because its multiple and contradicting histories, definitions, and opinions make it a unique musical problem in Chennai. This problem is further complicated when the explicit intension of fusion as musical mixing is also understood as an example of persistent debates of cultural mixing that are so crucial to India's colonial history and postcolonial present. In this dissertation, I show how fusion triggers debates that provide a unique constellation of irresolvable tensions that help situate contemporary, urban, South Indian musicians within the changing relations between India and the West. The contestation about fusion has led to a lacuna of critical scholarship that this dissertation remedies. I argue that rather than being a reason to overlook fusion, fusion's contestation loads it with meaning and makes it a rich, unexamined site of expressive culture. It provides a unique domain to understand how musicians in Chennai represent the always-changing relations of India and the West through their discourse about music and musical sound.
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Garland, Shannon. "Music, Affect, Labor, and Value: Late Capitalism and the (Mis)Productions of Indie Music in Chile and Brazil." Thesis, 2014. https://doi.org/10.7916/D8WS8RSG.
Full textAbstract:
This dissertation traces the tensions surrounding indie music production in Santiago, Chile and Sao Paulo, Brazil. I conducted several years of ethnographic research on locally situated, yet transnationally interpolated, musical production, circulation and listening practices in Santiago and Sao Paulo. I open by detailing the expansion of the indie touring market from the global north into both cities, theorizing the enlistment of affect as a neoliberal technique for producing monetary value. The next chapter considers spaces for musical association as forms of infrastructure that both emerge from and themselves help constitute musical-social networks in Santiago. I follow by showing how the history of Brazilian individuals' engagement with particular sets of indie sounds from the global north bear upon the contemporary formation of infrastructures of social relations, musical aesthetics, and places for musical and social association. Finally, I detail how the tensions between the construction of audience, value, aesthetics and circulation arising from new production structures manifest in the politics of a new type of Brazilian institution called Fora do Eixo. Here, I inspect the logics of aesthetic valuation in building structures for music production within a complex state-private nexus of cultural funding in Brazil. As a whole, this dissertation explores the political struggles emerging as actors seek to establish new structures for participating in live shows and for playing music as both a creative practice and as an economic activity within emerging forms of communication and cultural circulation made possible by digital media. Each struggle is simultaneously interpolated by the messy articulation of transnationally-produced notions of aesthetics, authentic modes of engagement with music, and moral-ethical ways of organizing music production, circulation and remuneration as a social practice. The dissertation thus highlights the way new media and economic logics build upon and clash with historical practices of production, evaluation of aesthetics, and regimes for mediating the artistic, the economic, and the social.
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Williams, Andrew Paul. "The functions of Walkman music." 2004. http://hdl.handle.net/2440/49032.
Full textAbstract:
Since its release in 1979, the Walkman has engendered new modes of musical experience for millions of listeners. Its portability and the apparent isolation offered by its headphones enable Walkman users to listen to music in situations where it would otherwise be impossible. They can also use Walkman Music to achieve outcomes for which other forms of music may not be suited. Eleven functions of Walkman Music, ten adapted from Michael Bull's (2000) strategies of Walkman use and one derived from this study's fieldwork results, are examined here. Following Timothy Rice's (1987) model for ethnomusicological study, the functions' origins in historical musical practice are investigated, as well as their maintenance in social interaction and listeners' individual experience of them. This study demonstrates Walkman listeners are focussed entirely on their Walkman Music in only two functions, either enjoying it or trying to learn it. Four functions involve Walkman listeners' interactions with their surroundings – namely, listeners use Walkman Music to control their environments' soundscapes, to ease their negotiation of places they consider unpleasant, to control personal interactions and, in combination with their surroundings, Walkman Music gives listeners the impression they are viewing or acting in a film for which their music is the soundtrack. Listeners use Walkman Music for its effects on themselves in five functions. They choose rhythmic music for motivation during exercise or music which will influence their mood. Listeners also use Walkman Music to simulate the presence of a companion or because they consider it a more enjoyable or productive use of time they would otherwise consider wasted. Finally, Walkman Music can prompt listeners' memories of past events. While similar observations have been made in previous studies and particularly by Bull, music's role has not been appropriately acknowledged. This study's examination of Walkman Music in terms of the functions it fulfils for listeners corrects this imbalance. Observations in the literature relating to Walkman use are tested for their resonance with Walkman listeners in ethnographic interviews conducted in Adelaide, Australia. Conclusions are drawn regarding the degree of isolation listeners actually achieve from their surroundings and also regarding the relative novelty or otherwise of the uses to which listeners put their Walkman Music.Thesis (Ph.D.) -- University of Adelaide, Elder School of Music, 2004
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Mdanisi, Charlotte Tshikani. "Policy, planning and provision : a case study of water in the Limpopo Province." Thesis, 2010. http://hdl.handle.net/10413/7332.
Full textAbstract:
The purpose of this study was to explore and understand how policies and legislative frameworks impact on the planning for water provision in rural areas, and in particular, the Makosha village in the Mopani District Municipality, Limpopo Province. The research method used was qualitative, which is exploratory, descriptive and conceptual in nature. The sample selection method was purposive since it was targeting specific people. Data were collected from a focus group and individuals through in-depth interviews. The findings of the study for the focus group were presented under the following themes:- Problems related to water provision; problems related to rights; communication between the municipality and the community; and respondents’ envisaged recommendations related to problems of water supply. The findings for the individual interviews were also presented under the following themes: - The district municipality’s expression of its difficulties when providing water; and planning. The results of the study provide evidence that water provision in rural areas is still a challenge. Mopani District municipality does not have the capacity to provide water. Water sources in the Greater Giyani municipality are not able to provide water to the various villages due to inadequate infrastructure. In the Makosha village, technical challenges are a cause of the problem. Illegal connections, lack of public participation in water provisioning activities and lack of skills in water provision were also identified as a cause of the problem. It is noted that the use of the Water Service Development Plan (WSDP) and the Integrated Development Plan (IDP), as planning tools, were not properly implemented. The study recommends that planning for water provision should be in line with the various legislative frameworks put in place in the country. The two planning tools, i.e. Water Service Development Plan (WSDP) and Integrated Development Plan (IDP) must be used in planning for water provision in all municipalities which are either a water service authority (WSA) or a water service provider (WSP). The capacity of the municipality should be improved in terms of skilled human resources, financial resources and infrastructural development. The Water Services and local government sectors should create a culture of public participation in the activities of the municipality. Monitoring and Evaluation should form an integral part of project implementation.Thesis (M.Com.)-University of KwaZulu-Natal, Westville, 2010.
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Smurthwaite, Michael. "Two commercial music radio stations and their use of Twitter." Thesis, 2016. http://hdl.handle.net/10539/21993.
Full textAbstract:
A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts (Journalism and Media Studies), 2016This research report is an exploratory study into two regional commercial music stations (YFM and 947) and their use of Twitter as a tool to relate to, interact with and enable participation from their audiences. Of particular interest was why they are using it, what they are doing with it and how this affects the on-air content pre, during and post broadcast, if at all it does. [Abbreviated Abstract. Open document to view full version]
GR2017
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"Infants' perception of emotions in music and social cognition." 2012. http://library.cuhk.edu.hk/record=b5549128.
Full textAbstract:
已有文獻指出幼兒能夠根據他人的意圖、慾望和信念以解釋對方的行為。本硏究的主要目的為探究幼兒能否理解音樂所傳達的情緒以及能否運用情緒來推測對方的行為，並了解這兩種能力之間的關係。在第一項測試中，我們用了Phillip et al.（2002）的注視時間飾演方範式（looking-time paradigm)來測試幼兒能否透過觀察他人的情緒(包括面部表情及說話)來推斷他的行為。在此項測試中，幼兒會觀看兩種情景（一）實驗人員首先會笑著面向物件甲說話，跟著手抱該物件（一致的情況）；（二）實驗人員首先會笑著面向物件甲說話，但接著手抱另一物件（不一致的情況）。因為在不一致的情況下實驗人員的面部表情與她的行為不協調，假若幼兒能夠理解實驗人員的情緒與行為之間的關係，幼兒將會對這種情況比較感到驚訝，因而注視時間會較長。在另一項測試中，我們運用了跨感官比對飾演方範式（intermodal matching paradigm）來探究幼兒能否理解音樂所表達的情緒。我們在播放開心的音樂之後，幼兒同樣地會觀看兩種情景：（一）螢幕中的實驗人員面露笑容地講話（一致的情況）；（二）螢幕中的實驗人員面帶哀傷地說話（不一致的情況）。由於在不一致的情況下音樂傳達的情緒與實驗人員的面部表情不相符，如果幼兒能夠理解音樂中的情緒，他們對這種情況的注視時間將會較長。此外，鑬於幼兒的語言能力與理解他人的行為及想法有著密切的關連，我們亦要求家長填寫《漢語溝通發展量表》來評估幼兒的語言溝通能力。是次硏究對象為三十五名十八個月大幼兒（平均年齡為十八月及四天）。硏究結果顯示，（一）當實驗人員對一件物件面露笑容時，她便會手握該物件；（二）當實驗人員聽到開心的音樂時，她會面露笑容；相反，當她聽到悲傷的音樂時她便會愁眉苦臉。結果亦顯示幼兒在以上兩項測試中的表現並沒有正向的關聯，即與我們的假設不相符。由於我們認為次序效應（order effect）影響了本硏究的結果，因此我們建議在量度幼兒對音樂中的情緒之理解，以及對情緒與行為之間的關係的理解應作出適當的修改。總括而言，是次硏究把動作及視覺經驗延伸至聽覺經驗，以及由理解意向和信念延伸至理解情緒，因此本硏究對了解自身經驗和理解他人行為及想法之間的關係潛在莫大的貢獻。Prior studies demonstrated infants’ precocious mentalistic reasoning of attributing others’ behaviours to intentions, desires and beliefs. However, fewer studies looked at infants’ interpretation of behaviours in terms of agents’ emotional expressions. The present study examined the relationship between infants’ perception of emotions in music and their understanding of behaviours as motivated by emotional states. In Task 1, we adapted Phillips et al.’s (2002) looking-time paradigm to assess infants’ use of emotional information to predict agent’s action. Infants were shown an actress with positive emotional-visual regard directed towards one object and subsequently grasping the same object (consistent event) or the other one (inconsistent event). If infants appreciated the connection between actress’ affect and her action, they should show greater novelty response to inconsistent events in which the actress’ expressed emotion contradicted the expected action. In Task 2, an intermodal matching paradigm was used to test whether infants are sensitive to emotions conveyed in music. We exposed infants to happy or sad music and later showed them an actress portraying either happy or sad dynamic facial expressions on a monitor. If they could discern the emotions embedded in the musical excerpts, they should look longer when the actress’ posed emotion is inconsistent with the emotion represented in the music. Parental report of language skills as measured by the Mac-Arthur Bates Communicative Development Inventories was also obtained to partial out the effect of language ability on psychological reasoning. Results from 35 18-month-olds (M = 18 months 4 days) revealed that as a group (a) they recognized that the actress tended to grasp the object with which she had positively regarded previously, and (b) they appreciated that the actress tended to show happy face upon hearing positive music excerpts whereas sad facial expression was displayed when listening to sad music. Contrary to our hypothesis, we failed to find a positive correlation between these two conceptual understanding. We speculate that the result was obscured by order effects, and suggestions have been proposed to ameliorate the measurement of infants’ looking preferences as reflecting their conceptual understanding. Despite the null result, the current study is potentially significant in corroborating the role of first-person experience in social cognition by extending from motor and visual experience to auditory experience on the one hand, as well as from intention and belief attribution to emotion attribution on the other.
Detailed summary in vernacular field only.
Siu, Tik Sze Carrey.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 62-84).
Abstracts also in Chinese.
Introduction --- p.11
Infants’ Early Psychological Reasoning --- p.11
Self-experience as a Mechanism underlying Infants’ Psychological Reasoning --- p.14
Infants’ Attribution of Behaviours to Emotions --- p.17
Music as a Language of Emotions --- p.23
The Perception of Emotions in Music among Young Children and Infants --- p.25
The Hypothesis of the Present Study --- p.29
Method --- p.32
Participants --- p.32
Apparatus and Materials --- p.33
Chapter Task 1 --- : Ability to predict agent’s action based on expressed emotion --- p.33
Chapter Task 2 --- : Ability to decode emotions in music --- p.33
Musical stimuli --- p.33
Facial expressions --- p.34
The MacArthur-Bates Communicative Development Inventories --- p.35
Procedure --- p.36
Chapter Task 1 --- : Ability to predict agent’s action based on expressed emotion --- p.36
Chapter Task 2 --- : Ability to decode emotions in music --- p.38
Reliability Coding --- p.39
Results --- p.41
Chapter Task 1 --- : Ability to Predict Agent’s Action Based upon Expressed Emotion --- p.41
Familiarization --- p.41
Test events --- p.41
Chapter Task 2 --- : Ability to Decode Emotions in Music --- p.42
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Test events --- p.42
The Link between Task 1 and Task 2 --- p.43
Discussion --- p.46
Limitations and Further Research --- p.53
Significance and Implications --- p.59
Conclusion --- p.60
References --- p.62
Appendices --- p.85
Table --- p.85
Figures --- p.86