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Dissertations / Theses on the topic 'Pop music'
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Jones, Michael Lewis. "Organising pop : why so few pop acts make pop music." Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367134.
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Tiggemann, Marcel. "How Different Are Pop & Punk?" Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-103824.
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A look into song identity and the building blocks of music through a process of analysing five different punk songs and then repackaging them into a modern pop production. After completing these new versions, I compared them to their original recordings and discovered that there are more similarities between the two genres than one might initially think, and that each song’s identity was preserved on slightly different levels and in different forms. I discuss my analyses and process in terms of both music theory and non-musical descriptions, leading to generally positive results. Each song was recognizable, but I discovered that some identities were stronger than others because of factors such as original arrangement, era of release or differences in experience from person to person.
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Engdahl, Anton. "Minimalism och pop : Pop-produktioner inspirerade av Steve Reich." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-74324.
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Det här är ett konstnärligt arbete som handlar om att producera popmusik influerad av Steve Reichs minimalistiska verk. Det inleddes med en analys av de musikaliska parametrarna harmonik, rytmik och klangfärg i tre av Reichs verk. Med resultatet från analysen som mall skapades sedan nya produktioner till tre poplåtar. Poplåtarna skrevs av författaren innan starten för detta arbete. Resultaten blev av varierande kvalitet. I vissa fall upplevde författaren att det mest lät som att man lyssnade på två låtar samtidigt. När författaren tog egna initiativ och lät ljudbilderna smälta samman mer upplevde han dock att resultatet blev bättre. I de fallen påstår han att musiken blev någonting mer än bara honom själv + Reich, den blev någonting nytt och helt unikt!
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Ferdfelt, Henrik. "Pop /." Stockholm : School of Business, Stockholm University, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1349.
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Szemere, Anna. "Pop culture, politics, and social transition /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820881.
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Garwood, Ian. "Pop music and characterisation in narrative film." Thesis, University of Warwick, 1999. http://wrap.warwick.ac.uk/4263/.
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This thesis discusses the use of pop songs in narrative films, with particular attention paid to their role in characterisation. My argument concerns the potential for pop to retain its specificity as a certain type of music whilst it carries out functions normally attributed to a composed score. Many commentators have assumed that, because a song may be known before it is used in a film, its narrative meanings are "pre-packaged". I combine an appreciation of pop music's propensity to come to a film already 'known' with an attempt to demonstrate how individual narratives ask songs to perform different affective roles. It is my contention that pop music's quality of 'knownness' is fundamental to its narrative affect in films, without, however, pre-determining that affect. I argue my case through close textual analysis, discussing the relationship between real-life pop stars' musical personas and the film characters they are asked to play, as well as offering numerous examples of songs without an on-screen performer becoming involved in processes of filmic narration.
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Donnelly, Kevin J. "Pop music in British cinema : a chronicle /." London : Bristish Film Institute, 2001. http://catalogue.bnf.fr/ark:/12148/cb40204857z.
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Wong, Chi-chung Elvin. "Making and using pop music in Hong Kong /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18736439.
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Ekberg, Sebastian. "Varför låter det så? : En studie av pianospel inom jazz, pop och soul." Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-86665.
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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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Han, Ae Jin. "The aesthetics of cuteness in Korean pop music." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/61472/.
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The aesthetic of ‘cuteness' in South Korean popular music (known as K-pop) is a pivotal concept in Korean media and culture and is frequently used to describe performances by both male and female K-pop groups. Aegyo is a fundamental part of this aesthetic, also called ‘K-cute', and it refers to the behaviour of ‘acting cute' that denotes a particular coquettish style not only in K-pop but also in South Korean society in a broader sense. This thesis explores K-pop performance from the mid-2000s to the 2010s through an examination of K-pop artists' training process, an analysis of K-pop music videos' lyrical and visual codes and a study of notable live performances. The aesthetic of ‘cuteness' in K-pop is contextualised through a historical and cultural review of South Korea and the forms through which aegyo has been represented. Thus, we see how aegyo has evolved in response to gender stereotyping in both traditional and contemporary South Korean society and how it has come to represent a unique idea of Korean-ness expressed in a cultural form that also fulfils its potential for flexibility. Furthermore, this thesis investigates how the K-pop industry influences aegyo through issues of gender and sexuality, primarily examining Richard Schechner's performance theory and Erving Goffman's notion of self-presentation. A significant aspect of this investigation is the sexualisation of K-pop idol boy and girl groups through the deliberate adoption of the aegyo aesthetic, a process that forms a key part of the marketing strategy behind their ‘Korean wave' global success. Finally, I explore mediatised performances of aegyo and the possibility that remediation, as outlined by Bolter and Grusin, provides a potent vehicle for the repetition and reinforcement of ‘cuteness' via holographic and digitalised K-pop performances.
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Solomon, Mary Joanna. "Multivariate Analysis of Korean Pop Music Audio Features." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617105874719868.
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Christakis, Nicolas. "Pop-music : lieu d'identité et moyen d'expression collective." Paris 10, 1986. http://www.theses.fr/1986PA100193.
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La pop-music se présente habituellement comme une expression des préoccupations et des désirs de la jeunesse moderne, expression qui apparait liée à la "prise de conscience" et aux contre cultures naissant au début des années 60. Elle véhiculerait alors des valeurs telles que l'union, l’égalité, le partage, la libération et la révolte. Aujourd’hui nous observons la coexistence de plusieurs styles musicaux au sein de la pop-music (funk, disco, hard, new-wave etc. . . ) la pop s'est diversifiée tant dans sa forme que dans son contenu. L’adhésion à la pop-music, son écoute, implique la préférence marquée pour un style musical ainsi que le rejet d'autres styles. Ceci nous amené à envisager l'écoute musicale pop comme un phénomène d'appartenance à un public. Nous définissons ce dernier comme l'ensemble des auditeurs d'un même style musical à l'intérieur de la pop-music. Nous remarquons par ailleurs que, très souvent, l'appartenance musicale des auditeurs, ainsi que leur "vision du monde", sont rendues visibles par le look qui exprime ainsi la spécificité de leur identité sociale. Ce travail se présente comme un effort de compréhension de la formation d'une identité par le truchement de l'adhésion musicale. Nous tentons de mettre en évidence la façon dont la pop constitue un lieu où se rencontrent et s'articulent le vécu psycho-émotionnel propre à l'écoute musicale et l'union dans le groupe. Elle permet aussi selon nous l'organisation et l'actualisation des systèmes de valeurs, d'attitudes et de choix idéologiques des membres de ces publics. Ces derniers peuvent être considères comme des catégories sociales et ou subculturelles à part entière. Ce sont des groupes psychologiques. Leurs existences et fonctionnement peuvent être définis comme un processus d'identification: formation et intériorisation des catégories sociales contribuant à la définition de soi. Les membres des publics se positionnent et positionnent les autres en fonction de l'écoute musicale. L’adhésion à un style musical se trouve donc liée à la formation d'une identité sociale. Cette multiplicité des styles, des positions idéologiques, pose cependant le problème de la pertinence d'une idéologie unificatrice, a priori associée au contenu et à la nature même de la pop-musicPop music usually appears to be an expression of contemporary youth desires and preoccupations, spreading values such as unity, sharing, freedom, revolt and even rebellion (ideology of the sixties). But today's pop music is diversified. We observe many musical styles with important differences regarding form and content (funk, disco, hard, new wave. . . ). Adhesion to pop music involves special preference for one style and rejection of others: the listener is a member of a public. Besides, musical membership is manifested in the appearance ("look") which expresses the specific social identity. We propose the study of the formation of social identity by means of musical adhesion. Pop music is a place where emotional experience of listening meets social bound and group union. It also permits organization and actualization of the patterns of attitudes, values and ideological choices of the publics' members’ publics are social and or subcultural categories, psychological groups whose existence and functioning are an identification process: formation and internalization of self-defining social categorizations. The members of pop music public’s occupies a socially significant position and attribute a position to others through categorization and differentiation in function of musical membership. There is much to say about coexistence of multiplicity of styles and the unifying, nonsocial ideological kernel usually attached to pop music: listening to music and belonging to a public provide equilibrium between utopia and (social) adaptation
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Christakis, Nicolas. "Pop-music lieu d'identité et moyen d'expression collective." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37596730c.
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Schiffner, Wolfgang. "Einflüsse der Technik auf die Entwicklung von Rock/Pop-Musik." Hamburg : [Universität Hamburg], 1991. http://books.google.com/books?id=mz1FAAAAMAAJ.
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Koss, Michael Paul. "From Prog to Pop: Progressive Rock Elements in the Pop-Rock Music of Genesis, 1978-91." Diss., The University of Arizona, 2011. http://hdl.handle.net/10150/145489.
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The intent of this dissertation is to examine the way Genesis retained progressive rock elements during its 1978-91 pop-rock period. Genesis began composing music in a pop-rock style in 1978, adapting to the changes in rock by incorporating progressive rock elements into a pop-rock style. This study analyzes thirty-four selected songs from six Genesis albums considered in the pop-rock genre, identifying some of the progressive rock elements in these songs. The project begins with a historical survey of Genesis, shedding light on the development of the band`s progressive style, its transition through personnel changes and in the music before and after the departure of Peter Gabriel, and the shift toward pop-rock beginning in 1978. A review of published literature and analyses addresses the progressive nature of Genesis. The progressive rock elements pertinent to this study are defined using scholarly literature and analyses of Genesis and other established progressive rock bands. Analytical charts that indicate form, harmony, and rhythm are used to examine the common progressive characteristics in each song addressed in this study.
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Anderson, Tonya. "Still kissing their posters goodnight : lifelong pop music fandom." Thesis, University of Sunderland, 2012. http://sure.sunderland.ac.uk/3325/.
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Narratives about the discovery of one’s favourite artist are popular discussion topics among adult pop music fans, as are narratives of rediscovery later in life, suggesting that memory and nostalgia are powerful forces that can repeatedly draw fans back to that affective moment when they first discovered, and perhaps rediscovered, their idols. The impact of cultural influences like pop music during the formative period of adolescence cannot be underestimated. Such early identifications with pop music icons enable some adolescents to then carry those attachments with them their entire lives, forming lifelong fandoms. Through an ethnographic investigation into one such fan community, adult female fans of ’80s heart throbs Duran Duran, this research focuses on ‘mature’ pop fans in an effort to explore an enduring and lifelong fandom that is deeply communal, entrenched in a worldwide network of other fans. Of particular interest is the way in which fans connect via a hybrid of online and offline interactions, as well as how the resulting interaction mix generates complex dynamics and hierarchies. While this research focuses on Duran fan culture, fans of other teen idols were surveyed for comparative purposes, in particular bands that also experienced a resurgence of success after announcing a ‘reunion’, including Take That and the Backstreet Boys. Parallels are also drawn to the lifelong loyalty expressed by fandoms of other artists who were not teen-pop pinups, such as David Bowie (Stevenson 2009) and R.E.M. (Bennett 2010), whose now ‘post-popular’ music (Hills 2010) has seen continued popularity among cult audiences for almost four decades.
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Swords, Edward. "Virtual bass synthesis and balancing bass in pop music." Thesis, Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:ltu:diva-74121.
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A bass enhancement technique using the missing fundamental called VBS is presented. There are Several different approaches for using VBS in different applications. The technique is most useful in speakers that has a poor low frequency capability. It is presented in this report how it can be used for mixing purposes. How can a mix engineer use this technique to get a more balanced mix in laptop speakers without sacrificing the balance in large loudspeakers and headphones? To investigate this question an A/B style listening test is conducted, where the subjects get to answer both quantitative and qualitative questions. The answers are then analyzed using simple t-tests and categorizations of the qualitative information. The results of the test indicate that the mix with VBS is preferred in both the headphones and the laptop. There are no information indicating that the VBS has affected the mix in a poor or good way in the Loudspeakers.
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Sigurjónsson, Jóhannes. "Reference Music As Guidelines : Using reference music to create better songs." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-73989.
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This essay examines how reference music can be used as a tool to fix weaknesses within my own songwriting and production process. The weaknesses were found by analysing feedback from other students on my own music. Four reference artists were then analysed with the intent of finding solutions to these weaknesses. Four new songs were then written and produced by implementing the solutions from the reference artists into the creative process. The results were mostly positive, as the songs had improved on various issues found in the feedback analysis. However, the method restricted the creative process in some occasions rather than inspiring it. The reasons for this are in part due to the choice of reference artists and which aspects of their music were in focus for the analysis.I detta arbete undersöker jag hur referensmusik kan användas som ett verktyg för att stärka svagheter i mitt eget låtskrivande- och produktionsprocess. Svagheterna hittades genom att analysera feedback från andra studenter på min egen musik. Därefter analyserades fyra referensartister med syftet att hitta lösningar på dessa svagheter. Fyra nya låtar skrevs sedan och producerades genom att implementera lösningarna från referensartisterna till den kreativa processen. Resultaten var mestadels positiva, eftersom låtarna förbättrades på olika svagheter som hittades i feedbackanalysen. Metoden begränsade dock den kreativa processen i vissa tillfällen snarare än att inspirera den. Anledningarna till detta beror dels på valet av referensartister och vilka aspekter av deras musik som analyserna var inriktade på.
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Shea, Nicholas Jordan. "Ecological Models of Musical Structure in Pop-rock, 1950–2019." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu158755665247824.
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Branstetter, Leah Tallen. "Angels and Arctic Monkeys: A Study of Pop-Opera Crossover." University of Cincinnati / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1249493305.
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Skretta, James Edward. "Perceiving meter in romantic, post-minimal, and electro-pop repertoires." Diss., University of Iowa, 2015. https://ir.uiowa.edu/etd/2013.
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Cipollone, Elvio. "Les comportements harmoniques caractéristiques de la "pop music" et leur relation avec les principes de la tonalité." Strasbourg, 2009. http://www.theses.fr/2009STRA1041.
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Cette thèse considère la « pop music » du point de vue harmonique, ce qui en fait, en France, un travail de pionnier : au lieu de traiter les enjeux sociologiques liés à la production ou à la réception de ce répertoire, elle se propose, en effet, de l'analyser. La décision de considérer enfin la « pop music » comme un produit artistique, et non seulement commercial, permet de faire surgir les questions musicalement les plus intéressantes : s'agit-il d'une musique modale, tonale, ou « mixte » ? À mon sens, l'histoire séculaire de la tonalité ne peut que conditionner l'écoute contemporaine d’une musique basée sur une mélodie accompagnée. En partant de ce postulat, je cherche à mesurer l'écart entre la tonalité classique, utilisée comme référence, et la tonalité de la « pop music ». Disparition de la sensible, prédilection pour les parallélismes, affaiblissement de la fonction de dominante et affirmation contextuelle de la fonction de sous-dominante sont les axes autour desquels s'articule cette recherche, et plus de cent transcriptions, allant des années soixante à nos jours, viennent appuyer ces considérations. Au-delà des aspects techniques, je parviens à la conclusion générale que le langage de la « pop music » se fonde sur une forme de tonalité que je qualifie (en empruntant l’expression pensiero debole au philosophe Gianni Vattimo) de tonalité faible. Bien qu’avec d’autres moyens que ceux de la musique savante contemporaine, la « pop music » doit elle aussi refonder, à chaque pièce, sa propre syntaxe, afin de créer du sens dans un monde qui n’a plus de Vérité. À travers ce travail, le monde musical actuel apparaît enfin un peu moins schizophrène qu’il n’en avait l’airIn considering pop-music from an harmonic point of vue, this dissertation constitutes a pionniering work in France. It is not here the matter of discussing sociological aspects related to the production or to the reception of this music, but rather to analyse it. Treating pop-music, at last, as an artistic product and not as a mere commercial one, lets the most interesting musical questions arise : is this a modal, tonal, or "mixed" music ? In my opinion, the secular history of tonality cannot but influence the contemporary listening of a music based upon melody and accompaniment. Moving form this postulate, this dissertation aims at measuring the distance between common-practice tonality, used as a reference, and pop tonality. The disappearing of the leading-tone, the predilection for parallel mouvements, the weakening of the dominant function and the contextual affirmation of the subdominant function are the axis around which this research develops. More than a hundred transcriptions, ranging from the Sixties to nowadays, confirm these trends. Besides technical aspects, I come to the general conclusion that pop music syntax is based on a kind of tonality that – borrowing the expression pensiero debole to the Italian philosopher Gianni Vattimo – one would qualify as weak tonality. Although using different strategies than those of contemporary art music, pop music too has to refound, one song after the other, its own syntax, in the attempt of building sense in a world deprived of Truth. At the end of this work, contemporary musical world seems actually a bit less schizophrenic than one could tell
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Wesley, Chelcie Melissa. "Cowboys, pop stars, pimps and players: themes in music videos." Thesis, Texas A&M University, 2005. http://hdl.handle.net/1969.1/2395.
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Television is something that is a part of the everyday lives of a majority of people in America. The content of what is on television can vary in nature from being positive to being negative. However, what people are exposed to through music videos, in particular, a very popular form of artistic expression, has not been thoroughly investigated. This study uses structural ritualization affect, gender schema theory, media and audience power theories, cultivation theory, agenda setting and framing theories, and (cognitive) social learning theory in order to investigate what people are actually exposed to by watching music videos, in particular, MTV, BET, and GAC.
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McLaughlin, Noel. "Pop and the periphery : nationality, culture and Irish popular music." Thesis, Ulster University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326322.
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This thesis seeks to consider the relationship between 'rock' and 'Irishness' • between transnational pop and the nation-state • challenging the 'orthodox' view that Irish rock embodies uniquely Irish characteristics. It is about Irish popular music and identity and is primarily concerned with the relationship between culture and meaning. It argues that the study of popular music as 'text' is important to the more general study of culture (even though the notion of text in popular music is problematic). The thesis seeks to explore how meaning is made in popular music culture across a shifting and unstable textual matrix. Authenticity is a central concept here and I examine discourses of Irish authenticity and essentialism and their relationship to authenticity in rock. The study of Irish rock is, I argue, important to wider debates about identity and globalisation, especially in debates about the relationship between national music cultures and an increasingly globalised market. I undertake an exploration of the concept of cultural hybridity and assess both its strengths and its limitations to tbe study of popular music and debates about national identity. Hybridity, I argue, is important in that it helps break down the essentialising force of both the main discourses of authenticity outlined, becoming useful in moving beyond discourses of cultural purity. Howeve~ hybridity discourse also has problems and frequently there is a Jack of discrimination between different types of hybrid text which may result ina simple celebration of hybrids and hybridity. Thus, the complex relationship between popular music, the articulation of identity in pop songs (and across pop's mobile textuality) and in discourse about pop is overlooked. In this way, the thesis argues that the study of popular music culture in specific contexts may reveal the limitations of existing cultural studies work on hybridity, textuality and meaning. This is part of a broader project of arguing for more detailed consideration of music, meaning and pleasure in regional and peripheral national contexts.
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Pringle, Wendy. "Remediating lost pop: the recirculation of North American B-Music." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121540.
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This thesis looks at the role of older North American pop music as cultural waste in new media environments. It builds on existing scholarship examining the political implications of collecting, recirculating and archiving cultural ephemera. I argue that as discredited and obsolete media, the discarded physical remains of failed or forgotten music— such as old vinyl records—provide personal and alternative ethnographies of North American mass culture. Crucial to this research is the concept of remediation, whereby media are made and remade in new conditions. In particular, I examine an assemblage of music I call 'B- music' (from B-movie) that is revisited primarily for its weirdness. Failed eccentrics, forgotten trends, indecipherable outsiders and other such curiosities are viewed as transgressive or revelatory after having been excavated and re-articulated as such. While such content has conventionally been relegated to the secondhand stores and donation bins that have constituted the networks of recirculation, they are increasingly accessible to less serious collectors and listeners through digitally mediated channels. I argue that remediating such content, or converting it to digital formats, making it available to global audiences via the internet, performs a valuable process in revisiting and reshaping the history of cultural industries.Cette thèse examine le rôle de « déchet culturel » que joue la musique populaire nord- américaine des générations passées dans le contexte des nouveaux médias. En m'appuyant sur des études existantes des implications politiques de la collection, de la remise en circulation et de l'archivage des biens culturels éphémères, j'argumente qu'en tant que moyens de communication discrédités et désuets, les supports physiques de musiques oubliées ou sans succès, tels que les disques de vinyle, fournissent des ethnographies alternatives et personnelles de la culture de masse nord-américaine. Le concept de remédiation, c'est-à-dire la retranscription des anciens médias dans de nouveaux contextes, est crucial. J'explore en particulier un type de musique que j'appelle « de série B », dont l'intérêt réside principalement dans son étrangeté : excentricités hermétiques, tendances oubliées et autres curiosités sont considérées comme révélatoires ou transgressives après leur exhumation et leur réarticulation. Bien que de tels contenus aient traditionnellement été relégués à des magasins d'occasion et des organismes de charité formant des réseaux de recirculation, ils sont de plus en plus accessibles par voie numérique aux collectionneurs et auditeurs moins sérieux. Je soutiens que la remédiation et la conversion en format numérique de ces contenus, en les rendant disponibles à un public global via Internet, contribue de manière importante à la réévaluation et à la révision de l'histoire des industries culturelles.
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Pires, M. "Popular music reviewing in the French press, 1956-1996." Thesis, Roehampton University, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298927.
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Rocha, Marcel Eduardo Leal. "A tecnologia como meio expressivo do guitarrista atuante no mercado musical pop." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284480.
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Orientador: José Eduardo Ribeiro de PaivaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A guitarra elétrica é um instrumento musical que nasceu das tentativas de se aumentar a projeção sonora de instrumentos como o violão, a guitarra havaiana e a guitarra acústica archtop. As primeiras guitarras elétricas foram guitarras havaianas e archtops às quais foram instalados captadores magnéticos que enviam informações sonoras para um aparelho que ficou conhecido como amplificador. Dessa maneira, uma guitarra elétrica apenas se efetiva como instrumento musical na total acepção dos termos quando está conectada a um amplificador. Com o passar dos anos o amplificador passou a também processar o som através de equalizadores, reverberadores e do efeito de tremolo. Esses tipos de processamento sonoro passaram a ser oferecidos em aparelhos externos que deram origem aos pedais de efeito sendo criada assim a rede de interfaces característica da guitarra elétrica, na qual o músico atua, além da interface de seu instrumento e de seu amplificador, com as interfaces destes outros aparelhos adicionais. Portanto, a guitarra elétrica já nasceu como instrumento musical tecnológico no sentido de estar sempre em evolução, podendo ser conectada a um número cada vez maior de artefatos de tecnologia. A partir disso, cada músico pode montar a sua rede de interfaces de maneiras completamente diferentes e particulares, com o intuito tanto de estabelecer seu timbre pessoal quanto de escolher os equipamentos e interfaces que melhor se adaptam a sua técnica musical. Devido a essa natureza, o músico deste instrumento necessita exercer, além da técnica musical propriamente dita, a técnica tecnológica, que consiste na atuação sobre esses equipamentos tecnológicos, programando seus parâmetros de acordo com a situação musical em que esteja atuando. O presente trabalho visa investigar as diferentes maneiras que cada músico faz uso desses artefatos tecnológicos como seus meios expressivos no contexto do mercado musical pop, e que tipos de resultados diferentes obtêm como sua expressão artística. Para tanto, são apresentadas e analisadas as tecnologias que lhe foram colocadas à disposição ao longo da história evolutiva da guitarra, com especial ênfase à contemporânea tecnologia da simulação de equipamentos e instrumentos
Abstract: The electric guitar is a musical instrument that was born out of attempts to improve the sound projection of the acoustic guitar, the Hawaiian guitar and the acoustic archtop guitar. The first electric guitars were Hawaiian guitars and archtops on which were installed magnetic pickups that send auditory information to a device that became known as the amplifier. Thus, an electric guitar is only effective as a musical instrument in the total meaning of the terms when it is connected to an amplifier. Over the years, the amplifier has also been made in order to process the sound through built in equalizers, reverbs and tremolo effect. These types of sound processing began to be offered in external devices, which gave rise to the effects pedals. In this way, a network of interfaces had been created and became characteristic of the electric guitar. Therefore, the electric guitar was born as a technological instrument, and is always evolving and being connected to an increasing number of technological artifacts. From this, each player can set up his network in ways quite different and particular, with the aim to establish his personal stamp on choosing equipment and interfaces that best suit their musical technique. Because of the nature of the electric guitar, beyond the musical technique, the guitar player needs to exercise the technological technique, which consists in working on the technological equipments, programming their parameters according to the musical situation. The present work aims to investigate the different ways that each musician makes use of technological artifacts as his expressive means in the context of the pop music market, and what kinds of different results can be obtained as artistic expression. In order to accomplish this, it will be presented and discussed the technologies that have been made available throughout the evolutionary history of the guitar, especially the modern technology that simulates equipments and instruments that is present in effects processors, guitars and music software
Doutorado
Doutor em Música
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Körner, Stefan. "Theologie als Beat, Pop und Heavy Metal." Saechsische Landesbibliothek- Staats- und Universitaetsbibliothek Dresden, 2013. http://nbn-resolving.de/urn:nbn:de:bsz:14-qucosa-101963.
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Der erste Eindruck, er täuscht. Viele Besucher, die das „Schallarchiv“ zum ersten Mal betreten, äußern sich verhalten, die leichte Enttäuschung kaum verhehlend: „Das ist es also“. Ja, das ist es, das weltgrößte Archiv für christliche Popmusik. Und in der Tat: 2.500 LPs sind optisch weit weniger eindrücklich als die gleiche Anzahl Bücher. Was sich aber in den Plattenhüllen, in den Rillen des Vinyl verbirgt, das hörbar wird, sobald die Nadel die Vertiefungen nach den darin eingepressten Tönen abtastet, bringt den Hörer unvermittelt ins Staunen. Manch angestaubte Platte lässt vernehmen, wie sehr sie sich gegen das Archivieren sträubt, wie gerne sie laut gehört werden will. Es ist also so eine Sache mit dem Sammeln und Aufbereiten eines Gegenstandes, der vom Wesen her nichts Museales an sich hat, sondern ein energiegeladenes Zeugnis musikalischen Ausdrucks religiöser Gefühle ist. Und so geht dem Archivar immer wieder Folgendes durch den Kopf: Und führt mich doch nicht schon wieder in Versuchung! In die Versuchung, die potentiellen und tatsächlichen Opfer wissenschaftlicher Neugier zu ihrem Recht kommen zu lassen, flüstern sie ihm doch täglich zu: Play me, and play me loud – manchmal zur Freude und manchmal zum Leidwesen der anderen Mitarbeiter.
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Sandén, Johanna. "You know who pop the most shit? : A study of profanity and gender differences in modern pop music." Thesis, Umeå universitet, Institutionen för språkstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-173998.
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Are there any gender differences in how profanity is used in modern pop music in 2019? The purpose of this study was to analyse music lyrics with particular attention paid to frequency and profanity profiles between female and male artists. The corpus used in the investigation contains a total of 34 music lyrics equally divided between the genders and was collected from a Billboard chart called “Hot 100 Songs”. Although this sample was small and may not be representative of all modern pop music lyrics, trends in this data show that the female artists sampled from the Billboard chart actually use profanity more frequently than male artists, which is in contrast to previous research. Furthermore, the result shows that male and female artists have distinctive profiles regarding the types of profanity used. Female artists use the swear word bitch more frequently whereas male artists tent to use nigger with a greater frequency.
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Wong, Chi-chung Elvin. "The working of pop music culture in the age of digital reproduction." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B44140101.
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Farmer, Ajia. "Pop! Goes the music : a content analysis of popular music in prime-time television commercials." Thesis, Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/812.
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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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Stark, Alicia. "Virtual pop : gender, ethnicity, and identity in virtual bands and vocaloid." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/110112/.
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Virtual bands have been present in popular culture for decades, and they have become the topic of increased scholarly interest over the past few years. Despite this new work, however, there remains a need for more indepth critical studies into gender and ethnicity in virtual phenomena, as this approach promises to open up new areas of enquiry. Focussing on questions of gender and ethnicity, my thesis will investigate the mechanics through which identity is constructed in animated, puppet, and hologram virtual band characters. My thesis will draw on a range of empirical, theoretical, and ethnographic approaches in order to analyse how and to what extent virtual band characters are created and disseminated by those in the industry, on the one hand, and by fans, on the other. In particular, I consider this question through the concepts of agency (perceived and attributed), authorship, and authenticity, and in relation to the notion of suspension of disbelief, examining ways in which animation affords greater potential for forms of ‘layered awareness.’ Following a historical overview of virtual bands, and a critical appraisal of relevant theoretical perspectives on this topic, the thesis moves to a close reading of two case studies that reinforce and subvert gender and ethnic stereotypes commonly found in popular culture: Gorillaz and Vocaloid. These examples present different aspects of identity construction in virtual media, the former apparently led by the band’s creators, the other by its fans. Within Gorillaz, my discussion centres around the female guitarist Noodle, who, I will argue, is a modern-day Orientalist construction. By contrast, the chapters on Vocaloid draw on fan studies techniques to show that Vocaloid’s fan base contains a large, unexpected demographic, and that part of the fans’ dedication stems from their confirmed expectations of gender and ethnic identity in the Vocaloid characters.
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Hovmark, Olle. "Den sjungande låtskrivaren : Att komponera melodier ämnade för min egen röst." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-43557.
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Det här arbetet har handlat om att komponera sångmelodier bestående av vers, refräng och eventuellt en brygga med hjälp av sex olika metoder. Jag ville ta reda på vilken metod jag ska använda för att min arbetsprocess ska flyta på så bra som möjligt och samtidigt få resultat som jag är nöjd med. Melodierna var menade att passa inom genren pop och tanken var att de skulle passa min röst, eftersom jag planerar att sjunga dem själv. Jag kom fram till att den metod som fick arbetsprocessen att flyta på bäst för mig var att improvisera fram melodier med rösten till en färdig text, men den metod som jag tycker gav de bästa melodierna var att improvisera fram melodier med rösten utan några andra hjälpmedel. Arbetet har resulterat i 24 stycken inspelade sångmelodier med tillhörande ackord samt två stycken färdiga låtar med text och ett enklare arrangemang.
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Huang, Chun-Ming. "Mediated music, mediated nations : Taiwanese popular music in China." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/28985.
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Taiwan’s pop music is enormously popular in China. This study aims to probe the reasons for this success as it has taken place against a backdrop of hostile political relations between the Taiwanese and the Chinese. The study explores the ways in which Chinese people and the Chinese media have negotiated and practised the work of ‘imagined communities’ through the consumption of Taiwan’s pop. It focuses on the cultural-political struggles of Taiwan’s pop in China, its mediation, and consumption as a cultural practice. The study suggests that deliberative mediation and a sociable mediation are able to coexist through the process of music consumption. The study has used a variety of research methods, including semi-structured interviews of Chinese audience-members; documentary, media and historical analysis; desk research; and a six-month period of observation in Beijing. It examines the experiences of 26 Chinese audience members living in Beijing or Taiwan who are fans of the ‘Little Freshness’ style of music. Four important media texts are discussed: 1) Chinese Central Television’s (CCTV’s) New Year’s Gala (1984–2014); 2) the magazine People’s Music(1980–2007); 3) Li Wan’s book, How Much Time has Gone By, the Forgotten Sorrow: Sixty years of Songs Across Three Places: China’s Mainland, Hong Kong and Taiwan (2012); 4) Zhang Lixian’s edited volume, Archaisms: Luo Dayou (2000). Using the concept of mediation, the study highlights the significance of a ‘structure of feeling’ (Williams, 1961) to identify how the ‘multi-mediated’ process of consumption of Taiwan’s pop is made up of emotion, conflict and negotiation from the interplay of relations between Taiwan and China. This has emerged as a combination of musical mediation and political mediation, a combination which, in turn, moved from the cultural consumption of Taiwan’s pop towards the practice of the political. The study reflects on related approaches to see their limits and problems when applied to the study of Taiwan and China, and proposes that music consumption requires the engagement of the biographies of both the audience-members and the musical work in order to ‘activate’ the social use of music. It draws on Williams’s concept of common culture as well as Mouffe’s idea of agonistic pluralism to suggest that participation in, and interpretation of, Taiwan’s pop may further propel both Taiwan and China towards commonly held, yet contested, cultures - in other words, that their citizens may come to possess plural cultural citizenships.
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Donnelly, K. J. "From specialization to integration : pop music in British cinema, 1960-1990." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.389202.
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Strand, Simon. "Att skriva låtar till andra artister : Låtskapande inom den kommersiella popen." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-43932.
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I examensarbetet har syftet varit att jag skulle lära mig mer om att skriva låtar till andra artister, och samtidigt undersöka om mitt låtskapande ser annorlunda ut när jag gör det, jämfört med när jag skriver till mig själv som artist. Slutresultatet av den konstnärliga delen blev fyra låtar inom den kommersiella popgenren. När jag skrev musiken valde jag artist till två av låtarna innan jag började skapandet, och till de två andra valdes artist i ett senare skede. Jag diskuterade sedan om och hur valen kan ha påverkat låtarna. I arbetet framkom att musiken förhållandevis lätt blev en kopia av artistens tidigare låtar när artist valdes innan skapandet, jämfört med om valet av artist kom senare i processen. Jag upptäckte också att jag vågade experimentera mer när jag skrev låtar till andra artister, och det är något som jag verkligen kommer att ta med mig i mitt fortsatta låtskapande.
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Wall, Axel. "Att analysera och skriva hitlåtar." Thesis, Linnéuniversitetet, Institutionen för musik och bild (MB), 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-45132.
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Nunes, Pedro. "Popular music and the public sphere : the case of Portuguese music journalism." Thesis, University of Stirling, 2004. http://hdl.handle.net/1893/24.
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Music journalism has been acknowledged as an important space of mediation between artists and consumers. Journalists and critics have played an historical role in the creation of discourse on popular music and are acknowledged by the music industry as an important referent in promotion strategies. Research on the subject has been mostly focused either on the relationship between music journalism and the wider music industry in which it operates or on its status as a field of cultural production. Little consideration has been given to the role played by music journalists in articulating popular music with wider political, social and cultural concerns. This thesis will examine the case-study of Portuguese popular music journalism. It will address its historical evolution and current status by taking into consideration some dimensions, namely, the wider institutional contexts that frame the status of music journalism and how they work upon it, the ideologies and values realised in journalistic discourse, the journalists’ relationship to the music industry (as represented by record labels/companies and concert promotion companies) and issues of interactivity with readers. The thesis will draw on theories of the public sphere and, to a lesser extent, on Bourdieu’s notions of field, capital and habitus to assess the possibilities for music journalism to create reasoned discourse on popular music and, therefore, contribute to wider debates on the public sphere of culture.
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Carter, Paul Scott. "Retrogressive Harmonic Motion as Structural and Stylistic Characteristic of Pop-Rock Music." University of Cincinnati / OhioLINK, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1116202928.
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Parszyk, Lovisa. "Jazzsax i pop eller popsax i jazz? : En studie om hur mina saxofonsolon skiljer sig beroende av om jag spelar jazzmusik eller populärmusik." Thesis, Örebro universitet, Musikhögskolan, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-86676.
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Lee, Wonseok. "Diversity of K-Pop: A Focus on Race, Language, and Musical Genre." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1526067307402648.
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Kavka, Daniel Robert. "Young Americans to Emotional Rescue: Selected Meetings Between Disco and Rock, 1975-1980." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277322797.
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Oxenham, Michelle L. "Processes of transformation : art into pop and back again." Thesis, Queensland University of Technology, 2014. https://eprints.qut.edu.au/78374/1/Michelle_Oxenham_Thesis.pdf.
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This research project was a case study for managing and innovating an interdisciplinary practice: specifically across music, performance and contemporary art. Key works included painting/sound/video installation, experimental performance, electronic pop music, music video and electronic pop music performance. An idiosyncratic and transformative use of colour emerged as an underlying theme and strategy for cohesion. The project offers strategies for the challenges of interdisciplinary practice specifically addressing the limitations related to institutionalised value systems, aesthetic traditions and disciplinary languages.
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Zabrovskaya, Yulia, and Monika Pavilonyte. "Revenue determinants of music festivals : A case of pop/rock, jazz and classical music festivals in Scandinavia." Thesis, Högskolan i Jönköping, Internationella Handelshögskolan, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-13771.
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We have chosen several types of festival (rock/pop, classic and jazz) in Scandinavian region (Sweden, Denmark and Finland), selected the biggest music events in each of the regions and marked the main factors affecting the revenue of the festival, why some of festivals occurring every year and some just have lack of visitors, as we suppose. Purpose is to define the main factors which influence revenues of festivals of classic, rock/pop and jazz genre. Methodology is to determine these factors. Quantitative analysis was used in order to collect necessary data. Organizers of festivals in Sweden, Finland and Denmark took part in the survey; they answered and gave information to main research questions, primary data. Secondary data was sourced from music events web-pages and articles. The collected data was analyzed by means of the statistical programs. We conclude that the research showed that the share of international artists, number of sponsors, the number of volunteers, the length of the music event, the music genre of a festival and government grants for the classic festivals affect festival revenues.
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Howard, Dori Elizabeth. "Recollective gender analysis and popular music contexts : a consideration of sunshine pop." Thesis, Liverpool Hope University, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.722165.
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Ho, Wing-see Vincie, and 何詠詩. "A phonological study of the tone-melody correspondence in Cantonese pop music." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B50899752.
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This PhD research aims at revealing the underlying complexity of the grammar of tone-melody mapping in Cantonese pop music. While linguists have shown a growing interest and invested painstaking effort in finding out whether lexical tones and musical melody interact in vocal music, the attention of these scholars mainly focuses on whether a lexical item remains intelligible to speakers of the given language when the tonal integrity is not preserved in the song. Others are interested in quantifying the degree of tone-melody correspondence and in carrying out cross-linguistic comparisons. The majority of such research studies fail to unravel the details of how tone and melody interact. This research challenges the methodologies and assumptions made in some previous studies that fail to account for the discrepancy between structural and perceptual ‘correspondence’ or ‘mismatch’. The notions of ‘correspondence’ and ‘mismatch’ are revisited and redefined from a perceptual perspective – a ‘perfect match’ refers to the mapping between a melodic transition and a tonal target transition that is satisfactorily accepted by native speakers of the language, whereas a ‘mismatch’ refers to a tone-melody pairing that sounds awkward to the native ear, whether or not the string of syllables are comprehensible, ambiguous or unintelligible when set to the song.
Through conducting perception tests, songs are grouped into two main categories for two different purposes – the songs without perceptual mismatch are used for a profound analysis of the well-formed mapping patterns at the abstract level. The most frequently attested correspondence pattern concerns the pairing between tonal target transition and melodic transition progressing in the same direction. The directionality constraint is satisfied in about 80% of the cases. It is also revealed that level tonal target sequences can be mapped to non-level melodies and still remain well-formed. This mapping, however, is strictly conditional and only occurs when licensed.
The other group of songs are those in which native speakers have identified cases of perceptual mismatch. By examining the ill-formed examples, other mapping constraints are uncovered – the interval constraint requires that the pitch distance of a melodic transition be comparable to that of the corresponding tonal target transition. The mapping criterion is therefore more like a ‘vector’, obliging the two transitions to agree not only in direction but also in slope. The Hidden Structure Alignment constraint is the third important mapping constraint discovered that succeeds in providing solutions to account for unusual pairings or mismatches that directionality and interval fail to explain. In order that a tonal target transition match a melodic transition, the hidden or phonetically unexpressed semitones on both tonal and melodic scales should be aligned to or absent from the same edge. This constraint is helpful to account for the extremely restricted mapping patterns at the song-final cadence.
By investigating a large corpus of Cantonese pop songs written by various lyricists, this research proposes a detailed description of the grammar of Cantonese tone-melody mapping in terms of the interaction of the directionality, interval and hidden structure alignment constraints.published_or_final_version
Linguistics
Doctoral
Doctor of Philosophy
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Johnson, Alfred B. "Fascination machine : a study of pop music, mass mediation, and cultural iconography." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.
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The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are produced, circulated, and read as texts; and it examines, when appropriate, the significant content of these icons.
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Menrath, Stefanie Margot. "Anonymity performance as critical practice in electronic pop music : a performance ethnography." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/18730/.
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Through practices of anonymity electronic music culture has advanced a critique of the institution of star personality in pop music. This study investigates how academic research can learn from such pop music-related critical practices. As it becomes an object of academic knowledge, the notoriously anti-representational electronic music culture calls for an experimental research methodology. This performance ethnography experiments, in the tradition of activist and performative anthropology, with research practice as performance. Resisting the tendency to objectify culture as a factual research object, this study explores the processuality and performativity of cultural research matter: instead of substantial, post-personal anonymity states, the practice of fabricating anonymity in electronic pop music (in discourse and sound) is its starting point. From there, it focuses on anonymity performances – institution-critical practices of star personality that operate within the discursive and media institutions of pop music. Adopting a symmetrical methodology, two personality-critical projects from the field of electronic pop music are addressed as laboratory cases and consulted for their tactical operations. Their anonymity performance practices – tactical persona performance, fake or collaborative imagination of a musical persona – take the form of immanent and particulate ‘critical practice’ (Butler, Foucault). Rather than distancing themselves from their ‘object’ of critique, these laboratory cases engage in concrete, affirmative or self-critical performances of pop stardom. Their resistance to the frameworks of identification and discursivity in pop both engages with and corrodes the epistemic-constitutional level of the field of pop music. How can researchers learn from such musico-artistic knowledge practices? Guided by its laboratory cases, this study proceeds from a detached reading of an electronic pop music live performance as a (poststructuralist) study of persona construction in pop music to become an engaged performance ethnography. Performance is incorporated as critical academic practice through a reflexive and increasingly performative writing style. The study concludes with the advocation of an ethnographic research format derived from one laboratory case: the collaborative investigation of imaginary research objects as a radical implementation of the performative turn in the cultural studies of music.