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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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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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Araujo, Nicole Barbosa de. "Juventude e resistência: o funk como forma de expressão dos(das) jovens da periferia." Pontifícia Universidade Católica de São Paulo, 2018. https://tede2.pucsp.br/handle/handle/21136.
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Understanding the relation between black and poor youth from the periphery with leisure and culture, through the artistic and cultural universe of funk is the purpose of this study. In this way, the discussion regarding the constitution and current reality of the periphery will be privileged, considering the racial questions as a structuring element of Brazilian capitalism, and also the implantation of the neoliberal agenda in Brazil, a project continued by the PT governments, during the thirteen years they remained in power. From such analysis, a debate about the daily life of the youth of the periphery will be proposed, and elements that amplifies the reflection over the cultural expressions from young people, entering into the diversity of funk’s universe, ranging from the style "ostentação" and "proibidão", until the "funk consciente" and the one that sings the resistance of transsexual women. The concept of youth and the elements for a reflection over work’s educational dimension of the Social Worker next to periphery’s youth also will be discussed. The dissertation also contemplates an analysis of the realization of a Focus Group with young people at the city of Itapevi, who presented several considerations about the daily life from the young people and from the funk universe
Compreender a relação estabelecida entre a juventude negra e pobre da periferia e o lazer e a cultura, por meio do universo artístico-cultural do funk é o objetivo deste estudo. Nessa direção, serão privilegiadas a discussão referente à constituição e realidade atual da periferia, considerando a questão racial como elemento estruturante do capitalismo brasileiro, bem como a implantação da agenda neoliberal no Brasil, projeto continuado pelos governos petistas, nos treze anos em que permaneceram no poder. A partir de tais análises, será proposto o debate sobre a vida cotidiana dos jovens da periferia, e elementos que qualificam a reflexão sobre as expressões culturais juvenis, adentrando a diversidade do universo do funk, que abrange desde a vertente “ostentação” e “proibidão”, até o “funk consciente” e aquele que canta a resistência das mulheres transexuais. Também serão debatidos o conceito de juventude, bem como os elementos para a reflexão da dimensão educativa do trabalho do assistente social com jovens da periferia. A dissertação também contempla a análise da realização de um Grupo Focal com jovens no município de Itapevi, os quais apresentaram diversas ponderações acerca do cotidiano dos jovens e do universo do funk
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Macaulay, David E. (David Edward). "Word, sound and power : Rastafari and conceptions of musical meaning in roots reggae music." Thesis, McGill University, 1993. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=69634.
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Reggae is a popular musical form that originated in Jamaica in the late 1960's and soon came to be closely associated with the oppositional, Afrocentric Rastafarian movement. During the 1970's it achieved global popularity and is now produced in many locations around the world. In Montreal, reggae is produced by and for a cosmopolitan community; however, certain conceptions of the distinctiveness of this music as an effective intervention in social processes, derived from Rastafarian philosophy, are maintained by its performers. This thesis examines reggae song lyrics and elements of discourse about reggae music in relation to Rastafarian cultural practices, showing how the aesthetic conventions of the form involve a certain ritualization of musical activity that allows for the interpretation of aesthetic experience in terms of solidarity, resistance and historical progress.
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Kyser, Tiffany S. "Folked, Funked, Punked: How Feminist Performance Poetry Creates Havens for Activism and Change." Thesis, Connect to resource online, 2010. http://hdl.handle.net/1805/2192.
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Thesis (M.A.)--Indiana University, 2010.Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Karen Kovacik, Peggy Zeglin Brand, Ronda C. Henry. Includes vitae. Includes bibliographical references (leaves 79-83).
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Callais, Todd Michael. "Music and New Social Movements: Hip-Hop Culture as Social Protest." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1391611174.
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Hollowell, Steven. "Aspects of Northamptonshire inclosure : social and economic motives and movements." Thesis, University of Nottingham, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.243662.
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Sadikovic, Dzeneta. "Rights Claims Through Music - A Study on Collective Identity and Social Movements." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21909.
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This study is an analysis of musical lyrics which express oppression and discrimination of the African American community and encourage potential action for individuals to make a claim on their rights. This analysis will be done methodologically as a content analysis. Song texts are examined in the context of oppression and discrimination and how they relate to social movements. This study will examine different social movements occurring during a timeline stretching from the era of slavery to present day, and how music gives frame to collective identities as well as potential action. The material consisting of song lyrics will be theoretically approached from different sociological and musicological perspectives. This study aims to examine what interpretative frame for social change is offered by music. Conclusively, this study will show that music functions as an informative tool which can spread awareness and encourage people to pressure authorities and make a claim on their Human Rights.
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Simitis, Marilena. "New social movements in Greece : aspects of the feminist and ecological projects." Thesis, London School of Economics and Political Science (University of London), 2002. http://etheses.lse.ac.uk/1647/.
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The thesis examines three case studies of the Greek feminist and ecological movements during the period: 1975-1992. As the most appropriate theoretical framework for the analysis of those case studies, 'new social movement theory' is selected. However, the Greek case studies represent significant variations in regard to the 'ideal type' of new social movements as depicted in the literature. These differences originate to a certain degree from Greek new social movements' different cultural and political environment. The Greek social movements had to face a strong statocratic and partocratic society, where there was lack of an autonomous social movement sector. This led to the formation of semi-autonomous, party-affiliated social movement organisations. Moreover, the Greek political culture has been rooted on two different geopolitical visions. The one has pointed to a more traditionally oriented, inward looking political orientation hostile to Western values and the institutional arrangements of modernity. The other has been a modernising, outward looking orientation, adopting Western institutions and values. The stand of the Greek new social movements towards this open question of modernisation has been variable. Some social movement organisations have underlined the need for empowering national autonomy and have, therefore, been positively predisposed towards the state and the political parties as a significant means for achieving this goal. Others have eschewed the question altogether, focusing only on the local and international level with significant, however, political cost. Another factor, which has influenced the identity of the Greek new social movements, has been the tradition of the Left, which has favoured grand-narratives based on humanism and posing a dichotomy between 'general' and 'particular' struggles. Summing up, the social movements presented show marked variations in comparison with the ideal-typical type. They were strongly influenced by: statocracy and patrocracy, the open question of modernisation, and the political culture of the Left.
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Biedermann, Richard Scott. "An analysis of the news media's construction of protest groups." Scholarly Commons, 2005. https://scholarlycommons.pacific.edu/uop_etds/620.
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This study examines the news media's construction of protests. Previous research has found that the news media demonizes and marginalizes protests. Protesters are framed in a highly negative fashion and primarily categorized as "violent." This study employed focus groups, agenda setting and framing theories to analyze this phenomenon. Previous research has been primarily quantitative in nature and thus qualitative research will provide a more in-depth understanding of this phenomenon. This study supports the findings of prior research but offers new insights. The implications of this study suggests that the news media can influence what people think about and how they think about it. Additionally, the news media frame protesters in a negative manner. Protesters are framed as violent and deviant. This negative framing both helps and hurts the protesters' cause. Lastly, this study found the news media to maintain the status quo in this society
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Wang, Jieying. "Mobilizing resources in networked social movements: cases in Hong Kong and Taiwan." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/175.
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The study examines social movement resource mobilization in the age of the network society. In the traditional model of Resource Mobilization Theory (RMT), material and human resources, as well as the legitimacy gained for a movement from the mass media, play crucial roles in mobilization. In the contemporary epoch of informationalism and network society, a large variety of instant communication technologies penetrate everyday life, bringing a lifestyle characterized by the intensive integration between technologies and social life. By studying the cases of two recent social movements, which witnessed the networking of different organizations/individuals and their wide use of new technologies, this research tries to identify what sorts of movement resources are employed in the mobilization process, and what the resource mobilization process is like in the paradigm of informationalism and network society. Regarding the traditional RMT, scholars identified the missing link between the movement side and the general public in terms of empathy arousal. Despite that political opportunity process theorists largely added contextual elements, they concentrated on mainstream political institutional change, but still neglecting the role of historical and social culture, and people’s role as active agency. In this study, the author also integrates the cultural aspects as a type of immaterial resource to produce a broader look into movement resources. The two cases investigated are: the anti-moral-and-national-education movement (anti-M&N) in Hong Kong and the anti-media-monopoly movement (anti-monopoly) in Taiwan. This research was conducted using a qualitative approach, employing in-depth interviews and archive study as the major methods. Results show that the traditional resources, such as resource-rich movement organizations, professionals and those possessing fruitful movement experiences are still indispensable. However, it is noteworthy that technologically adept activists have gained an increasingly important position. Their tech-savvy capabilities make them at once information archivist, movement message translator and disseminator. In addition, their heavy use of online platforms has facilitated groups which lack resources to “out-source the provision of resources to a rhizomatic movement network. In this sense, with networking taking place between those who possess resources and the tech-savvy activists, between the core and the rhizomatic participants, a networked alliance has been formed as an important resource to today’s social movements. In traditional resource mobilization theory, the mass media was regarded as an important source to legitimize the movement. In these cases, besides the legitimacy gained from certain types of mass media, the activists also presented the movement’s messages strategically, by bridging the movements with social expectation and embedding in the historical context. By this means, the activists drew wider attention to anxieties about identity. In the light of the fact that Hong Kong and Taiwan are in the eye of the storm against the backdrop of China’s rising power, the issue of identity anxiety in these two societies may provide a direction for further research. Keywords: resource mobilization, network society, Hong Kong, Taiwan
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Kaminski, Elizabeth. "Listening to drag: music, performance, and the construction of oppositional culture." The Ohio State University, 2003. http://rave.ohiolink.edu/etdc/view?acc_num=osu1060196344.
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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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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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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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Wong, Hoi-chung, and 王海聰. "Public housing movements in Hong Kong since the seventies: a sociological study." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1995. http://hub.hku.hk/bib/B42574420.
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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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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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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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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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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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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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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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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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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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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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Chan, Shu-ching, and 陳樹淸. "Social conflicts and the housing question in Hong Kong." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1985. http://hub.hku.hk/bib/B31974326.
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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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Micheletti, Edberg Maida. "Musik som verktyg i förskolan - Glädje, rörelse, förståelse, ord och språk. Music as a tool in pre-school." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-27974.
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Syftet med mitt examensarbete är att undersöka musikens betydelse för förskolebarnens allmänna utveckling. Med intervjuer och observationer på fyra förskolor i Skåne län har jag undersökt vilken betydelse pedagogerna anser att musiken har för förskolebarnens allmänna utveckling, hur de använder musiken i sitt arbete, samt i vilket syfte. Sammanfattningsvis tyder mina resultat på att musik har stor betydelse för barnens utveckling såväl språkligt som motoriskt. Under intervjuerna framkom att pedagogerna avsiktligt använder musiken både som metod och som verktyg för att stimulera utvecklingen av framförallt språk och motorik. En annan viktig anledning till att använda musik i förskolan, är att den skapar glädje och gemenskap i barngruppen. Dessutom anses musik vara ett utmärkt uttryckssätt för barnens känslor och kreativitet.The purpose of this essay is to consider the significance of music regarding the development of pre-school children in general. With interviews and observations in four pre-schools in the region of Skåne, Sweden, I have exmined the levels of significance that the teachers believe the music has on pre-school children in general. Further on, I looked into how the teachers use the music in their work and in what purpose. From the results of my research it seems that the music has an important significance on the development of the child, both concerning the language developoment and the motory development. During the interviews it turned out that the teachers used the music on purpose, both as a method and as a tool in order to stimulate the development of the language and the physical movements. An other important reason to use music in pre-school is that it creates joy, happiness and it strenghen the bondings within a group of children. In adition the music may be an exelent way to let the child to express its feelings and creativity.
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Eddleman, Libby Jean. "Protecting Patriarchy: an Historical/Critical Analysis of Promise Keepers, an All-Male Social Movement." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc278756/.
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The historical survey of social movements in the United States reveals that the movement is a rhetorical ground occupied by groups who have been marginalized by society. Today, however, the distinctions between those who are marginalized and those who are part of the establishment have become difficult to distinguish. This study considers the emergence of Promise Keepers, an all-male social movement, and the rhetorical themes that emerge from the group. This study identifies five rhetorical themes in Promise Keepers. These themes include asserting authority of men in the home and church, the creation of a new male identity, sports and war rhetoric, political rhetoric, and racial reconciliation. The implications of these themes are considered from a critical perspective and areas for future research are provided.
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Medeiros, Iraci Aguiar 1961. "Inclusão social na universidade : experiencias na UNEMAT." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/286862.
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Orientador: Leda Maria Caira GitahyDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Geociencias
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Resumo: Baseada no conceito de governança, o objetivo desta dissertação é analisar experiências de inclusão social na universidade. O estudo empírico foi realizado nos cursos de Licenciaturas para os professores indígenas e de Agronomia para os movimentos sociais do campo na Universidade do Estado de Mato Grosso. Os resultados mostram que os mecanismos de governança desenvolvidos na relação entre a universidade e os movimentos sociais nos casos analisados estão promovendo não só a democratização do acesso, como também a inclusão de saberes
Abstract: The main purpose of this dissertation is to analyse experiences of social inclusion at the university, using governance as a key concept. Empirical studies were conducted in the undergraduate courses for indigenous teachers and agronomy for rural workers at the State University of Mato Grosso. The results show that the forms of governance established in the relations between the university and the social movements in the cases studied are promoting accessibility and knowledge inclusion
Mestrado
Mestre em Política Científica e Tecnológica
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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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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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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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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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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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Hignell-Tully, Daniel Alexander. "Scoring other : the social function of art-making." Thesis, University of Sussex, 2017. http://sro.sussex.ac.uk/id/eprint/68361/.
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To what degree is it possible to score an artistic event for which the impetus is a social, rather than aesthetic, effect - and indeed, to what degree are these effects separable? How, in short, can the composer or artist create a blueprint for a relational practice that is fundamentally concerned more with actions within the community than it is with any outcomes or objects presented to the community? This thesis seeks to explore the role of the Other through the composition of a set of participatory scores for social activity. Devised from the perspective of a composer and sound-artist, this practice-led research investigates three strands of social engagement: collaboration, interpretation, and intervention. These strands each revolve around the problems inherent to performing and scoring socially-engaged, site-specific sound works, as well as the reality of their dissemination in the public domain. Each of the methods employed not only feeds back into the score-making process, but also serves to critique existing methods and hierarchies within artistic participation, ultimately arguing for an open-ended and non-linear relationship between the act of sensing, and the (community-influenced) construction of the sensible. Exploring post-structural, ethical, and ontological notions of what it means to share and construct community with Other, this research examines the role of art as a creative movement between self-constructs that are at once individual and indivisible from the community. This work argues that such creativity extends not only to the realisation of artworks, but across the whole gamut of activity within the social event. By undertaking practice-based research into the role of Other within the event of an artwork, this thesis interrogates the socio-political hierarchies inherent to both the specific art-event, and the pre-existing community in which such events unfold. As such, the art-event points not only to the specific creative act of its making, but equally the latent creativity within the community in which the art is disseminated. The spectator, no less than the artist, defines the terms of the community by which such acts are made available to perception as an ontological reading that is not only sensed, but sensible.
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Tam, Man Kei. "Action repertoire of the 'Big Noise in the Street' : bodily practice and spatial dissemination as social movement." HKBU Institutional Repository, 2000. http://repository.hkbu.edu.hk/etd_ra/233.
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Farias, Deusiney Robson de Araújo. "Ciberativismo e campo político brasileiro: uma reflexão crítica sobre as vicissitudes das lutas políticas na era do ciberespaço." Pontifícia Universidade Católica de São Paulo, 2017. https://tede2.pucsp.br/handle/handle/20249.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
Activism in cyberspace, also called cyberactivism, a transnational practice that puts us before invisible demands for techno excluded, and largely ignored by the political field, is presented as a solution to political problems, such as the collaborative public dialogue promotion and as online mobilization. In Brazil, the political struggles variations of recent years raise the following questions: what are the fundamental characteristics of activism in cyberspace and in the Brazilian political field? According to their characteristics, for what reasons do the demands and actions proposed by cyberactivists have little repercussion and support in the Brazilian political field and in society, often leading to temporary disappearance or at random? In response to these questions, we propose five hypotheses, namely: [1] political activism in cyberspace is part of an "activist protocampo"; [2] the hackeractivist has the potential to influence the political field through its actions of resistance; cyberactivists can simulate public opinion; The clickactivist or "like" activist is the maneuvering mass of the cyberactivist actions; [3] ciberactivism favors a much more alterity with the medium of communication and its connection links; [4] the political field is based on the blackmail game, characterized as its main conventional method of action / articulation; and [5] this form of activism provoked a political field reaction, which instrumented means capable of neutralizing actions in cyberspace and capitalizing on the results in favor of the image itself. The critical reflection on the Brazilian political and cybercultural reality aims at organizing a theoretical-methodological framework based on the deductive reasoning method, which is supported by two related symbolic models: [a] the political field as an autonomous microcosm, a socially structure based on a control and dispute system; and [b] activism in cyberspace, an emerging form of action with enormous political potential. Pierre Bourdieu's methodological view of relationally thinking about the object represented a fundamental part of our thesis. Likewise, the theoretical-epistemological framework formed in Brazil about activism in cyberspace contributed to the existing terms classification in the existing literature. Especially based on the concepts of Eugenio Trivinho, Jean Baudrillard, Fábio Malini, Henrique Antoun and Norberto Bobbio, we propose the concept of glocal activism, considering the global life organization modes added to the technomiditic local civilization arrangements resulted in a third social and political dimension, no longer local or global, but - just - glocal. This way, we conclude that, behind the political field visible power, there is an invisible power that acts through the blackmail game. In this dispute, hackeractivism has great potential to decrypt the existing game and eventually subvert the structures of power. This same action, however, makes us vulnerable to advanced digital technology, historically reinforcing the glocal phenomenon as an inexorable existential condition
O ativismo no ciberespaço, também denominado ciberativismo, prática transnacional que nos coloca diante de demandas invisíveis para tecnoexcluídos e, em grande parte, ignoradas pelo campo político, apresenta-se como solução para problemas políticos, como promoção de diálogo público colaborativo e como mobilização online. No Brasil, as vicissitudes das lutas políticas dos últimos anos fazem emergir as seguintes questões: quais as características fundamentais do ativismo no ciberespaço e do campo político brasileiro?; em que pesem suas características, por quais razões as demandas e ações propostas pelos ciberativistas têm pouca repercussão e sustentação no campo político brasileiro e na sociedade, muitas vezes chegando ao desaparecimento temporário ou ao ocaso? Como resposta a essas questões, propomos cinco hipóteses, a saber: [1] o ativismo político no ciberespaço faz parte de um “protocampo ativista”; [2] o hackerativista tem o potencial de influenciar o campo político por meio de suas ações de resistência; os ciberativistas podem criar simulacros de opinião pública; o clickativista ou ativista like é massa de manobra das ações ciberativistas; [3] O ciberativismo favorece muito mais uma alteridade com o meio de comunicação e seus links de conexão; [4] o campo político sustenta-se a partir do jogo de chantagens, caracterizado como o seu principal método convencional de ação/articulação; e [5] essa forma de ativismo provocou uma reação por parte do campo político, que instrumentalizou meios capazes de neutralizar ações no ciberespaço e capitalizar os resultados em favor da própria imagem. A reflexão crítica sobre essa realidade política e cibercultural brasileira visa organizar um arcabouço teórico-metodológico a partir do método de raciocínio dedutivo, baseada em dois modelos simbólicos conexos: [a] o campo político como microcosmo autônomo, estrutura socialmente estruturada sobre um sistema de controle e disputa; e [b] o ativismo no ciberespaço, forma emergente de ação com enorme potencial político. A visão metodológica de Pierre Bourdieu, de pensar relacionalmente o objeto, representou parte fundamental de nossa Tese. Igualmente, o arcabouço teórico-epistemólogico formado no Brasil sobre ativismo no ciberespaço contribuiu para a classificação dos termos apresentados na literatura existente. Especialmente com base nos conceitos de Eugênio Trivinho, Jean Baudrillard, Fábio Malini, Henrique Antoun e Norberto Bobbio, propomos o conceito de ativismo glocal, considerando que os modos de organização global da vida, somados aos arranjos locais na civilização tecnomidiática, resultaram em uma terceira dimensão social e política, já nem local nem global, mas – justamente – glocal. Diante disso, concluímos que, por trás do poder visível do campo político, existe um poder invisível que atua por meio do jogo de chantagens. Nessa disputa, o hackerativismo tem grande potencial para descriptografar o jogo existente e, eventualmente, subverter as estruturas de poder. Essa mesma ação, contudo, nos entrega ao domínio da tecnologia digital avançada, reforçando historicamente o fenômeno glocal como condição existencial inexorável
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McLeman, Robert Andrew. "A management strategy for potential human population movements as a result of climate change." Thesis, Hong Kong : University of Hong Kong, 1995. http://sunzi.lib.hku.hk/hkuto/record.jsp?B14040190.
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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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Avery-Natale, Edward Antony. "Narrative Identifications among Anarcho-Punks in Philadelphia." Diss., Temple University Libraries, 2012. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/174972.
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SociologyPh.D.
This dissertation uses in depth interviews and participant observation in order to understand an important contemporary subculture: anarcho-punks. The research was done in Philadelphia, Pennsylvania between the years of 2006 and 2012. The overarching theme that connects the different chapters of the dissertation together is a focus on the ways in which the identification narratives of participants are ethical in nature, meaning that the narrators are working to maintain an ethical sense of self in their narration. In addition, I show the identitarian consequences of the ways in which the hyphenation of the anarcho-punk identification works to both separate and join the two different identifications "anarchist" and "punk." I also show the ways in which identifications are narratively structured. This is done throughout the ten chapters of the dissertation. Each of the substantive chapters focuses on the different narratives used by the participants to understand a particular theme that is important to developing an understanding of the subculture overall.
Temple University--Theses
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O'Shea, Susan Mary. "The art worlds of punk-inspired feminist networks : a social network analysis of the Ladyfest feminist music and cultural movement in the UK." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/the-art-worlds-of-punkinspired-feminist-networks--a-social-network-analysis-of-theladyfest-feminist-music-and-cultural-movement-in-the-uk(5d20bada-4101-47be-9442-c58cefe18e4d).html.
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Riot Grrrl, Girls Rock camps and Ladyfest as social movements act as intermediaries in cultural production spaces, where music focused artefacts are made, collaborations forged, distribution networks established and reception practices enacted to create new conventions which can be understood as feminist art worlds. The growing literature on gender and cultural production, particularly in music communities such as Riot Grrrl, frequently speak of networks in qualitative narrative terms and very little is known about Ladyfest as a feminist movement and as a distribution network. This thesis offers an original contribution to cultural sociology by: employing a novel participatory action research approach to gathering social network data on translocal feminist music based cultural organisations; exploring how these networks can challenge a gendered political economy of cultural production in music worlds; understanding who participates and why; investigating how network structures impact the personal relationships, participation and collaboration opportunities for those involved. Engaging with Howard Becker’s Art Worlds theory as a framework, this thesis explores how music and art by women is produced, distributed and received by translocal networks. It takes into account contemporary issues for feminist music-based communities as well as the historical and international context of these overlapping and developing social movements. The literature suggests that one of the most pressing tasks for a sociology of the arts is to understand how organisational structures negotiate the domains of production, distribution and reception, with distribution modes being the most the most under-researched of the three. By focusing on UK Ladyfest festivals as case study sites, this research serves to address these gaps. Primary data sources include on-line social media, surveys, documents, focus groups and multi-mediainterviews. Findings indicate that those involved with Ladyfest tend to be motivated by a desire to challenge gender inequalities at a local level whilst drawing on local and international movements spanning different time periods and drawing on the works of feminist musicians. Homophily and heterophily both have important roles to play in the longitudinal development of Ladyfest networks. Participants show an awareness of intersecting inequalities such as ethnicity, class and disability with sexuality playing an important underlying role for the development of relationships within the networks. For some, Ladyfest involvement is a gateway into feminist activism and wider social and cultural participation, and for many it leads to lasting friendships and new collaborative artbased ties.
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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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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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Melanie, Ferrand, and 費曼靈. "Social Movements, Music and Documentary in Democratic Taiwan." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/58uk2w.
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碩士國立臺灣藝術大學
中華藝術全英語碩士學位學程班
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Taiwan is a young democracy, proud of this status acquired partly thanks to a great number of social movements in the 1980s. French people may have the reputation of protesting a lot, but Taiwanese people truly have no reason to envy them as thousands of people regularly gather in the streets of Taipei for various issues of oppression, injustice or transparency. Civil society is very active in Taiwan and supported in its propaganda by artists, who help to mobilize people for demonstrations and spread messages through their art work. Some even become mainstream, as when the band Fire EX. won the Song of the Year Golden Melody Award in 2015 for “Island’s Sunrise”, which happened to be the anthem of the Sunflower Movement from 2014. When a song calling for the youth to take to the streets wins the most prestigious Taiwanese song prize, it is a clear sign of the crucial position occupied by social movements among the sources of inspiration for local artists. Nevertheless, academic studies have yet to investigate the strong ties existing between art and activism in Taiwan. This paper is an attempt to give a first overview of some of the most obvious examples that exist. It is not an exhaustive presentation of the abundant artistic activities related to social movements but a focus on cases that best highlight the effect of social movements on the artists’ choices during the creation process.
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Shepherd, Bryan Chosley. "Religious identity and social engagement." Thesis, 2007. http://hdl.handle.net/2152/3683.
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Well-developed bodies of research exist in the separate areas of religious identity and social engagement, but only a small selection of recent work is devoted to understanding their intersection. This dissertation adds to this selection by exploring the connections between religious identity and social engagement. More specifically, this work focuses on understanding the role that individual and collective interpretations of religious identity play in shaping the socio-psychological processes that influence whether, and in what capacity, individuals and groups devote themselves to social change. This work attempts to achieve four goals: 1) to explore the multilevel nature of religious identity within society; 2) to evaluate the effects of religious identity on social engagement; 3) to show the usefulness of quantitative methodologies to social movement research; and 4) to add to the body of research in the field of religion and social movements. I find that the relationship between religious identity and attitudes and behaviors related to social engagement is more complex than current approaches acknowledge.
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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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Perlman, Allison Joyce 1975. "Reforming the wasteland: television, reform, and social movements, 1950-2004." Thesis, 2007. http://hdl.handle.net/2152/3247.
Full textAbstract:
This dissertation examines the role of television reform within twentieth century social movements in the United States. Typically, scholars have examined the relationship between activists and television through the lens of media representation: how the mass media have depicted and defined social movements, and how activists have negotiated with the media that publicize their goals. This dissertation, in contrast, examines the role of media reform within social movements themselves. By investigating the television reform campaigns of civil rights activists, feminists, conservatives, the progressive left, and educational groups, this dissertation reveals how American reform movements have responded to an increasingly mass-mediated culture and have tried to mold television to reflect their moral and political beliefs. This dissertation explores not only the myriad ways activists have approached television reform, but illustrates how these campaigns have responded to changes in the television industry, broadcasting policy, and American culture more broadly. This dissertation also charts the rhetorical strategies that the reformers have used to legitimate their stake in media policy and practices and to convince of the importance and power of the medium that they are trying to change. Television reform fights have been battles not only over television programming and policy, but over the meaning of television's role in American society.text