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Piotrowski, Stephanie Anne. ""All I've got to do is act naturally" : issues of image and performance in the Beatles' films." Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/51353.
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In this thesis, I examine the Beatles’ five feature films in order to argue how undermining generic convention and manipulating performance codes allowed the band to control their relationship with their audience and to gain autonomy over their output. Drawing from P. David Marshall’s work on defining performance codes from the music, film, and television industries, I examine film form and style to illustrate how the Beatles’ filmmakers used these codes in different combinations from previous pop and classical musicals in order to illicit certain responses from the audience. In doing so, the role of the audience from passive viewer to active participant changed the way musicians used film to communicate with their fans. I also consider how the Beatles’ image changed throughout their career as reflected in their films as a way of charting the band’s journey from pop stars to musicians, while also considering the social and cultural factors represented in the band’s image. Such elements in the Beatles’ carefully constructed image reflected youth culture and countercultural thoughts and beliefs. Finally, through a close analysis of the Beatles’ musical sequences I have shown how experimentation with artistic synergy enabled the band to produce new and innovative films and lyrics while allowing each member to develop as individual musicians. This experimentation and willingness to undermine traditional film and pop music practices helped to change artists’ approaches in the entertainment industries.
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Linekin, Kim. "The modern popular song as a literary art form." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37216.pdf.
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Shank, Jennifer Sue. "THE EFFECT OF VISUAL ART ON MUSIC LISTENING." UKnowledge, 2003. http://uknowledge.uky.edu/gradschool_diss/397.
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The purpose of this study was to examine the effect of visual stimuli on music listening skills in pre-service elementary teachers. Visual Stimuli in this study refers to the presentation of arts elements in selected visually projected images of paintings. Music listening skills are defined as those skills needed to identify and interpret musical excerpts. A Pretest-Posttest Control-group Design was used in this study. Subjects were pre-service elementary general educators enrolled in a large southern university (N=93). Students from intact classes were randomly placed into either the experimental group or the control group. The treatment consisted of six music listening lessons over a two-week period with each group receiving the identical teaching protocol with the exception of the use of paintings with the experimental group. Listening instruction emphasized the identification of melodic contour, instrumentation, texture, rhythm and expressive elements of the compositions. The Teacher Music Listening Skills Test (TMLST) was constructed by the investigator and administered before and after the treatment. The TMLST was designed to assess music listening skills in adult non-musicians. Results indicate that the group receiving visual stimuli in the form of paintings scored significantly higher on listening skills (pandlt;.01) than the control group which received no visual stimuli in the form of visually projected images of paintings. There was an instruction effect on both preference and familiarity of the musical pieces for both the control group and the experimental group.
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Linscott, Charles P. "Sonic Overlook: Blackness between Sound and Image." Ohio University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1438950059.
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Bonner, Sarah. "Fairy tales and feminism in contemporary visual art and popular culture." Thesis, University of Manchester, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.518484.
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Nicholls, Matthew. "Interactions between contemporary American independent cinema and popular music culture." Thesis, University of Southampton, 2011. https://eprints.soton.ac.uk/367385/.
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In recent years, many American independent films have become increasingly engaged with popular music culture and have used various forms of pop music in their soundtracks to various effects. Disparate films from a variety of genres use different forms of popular music in different ways, however these negotiations with pop music and its cultural surroundings have one true implication: that the 'independentness' (or 'indieness') of these movies is informed, anchored and embellished by their relationships with their soundtracks and/or the representations of or positioning within wider popular music subcultures. Independent American cinema, often distinguished from mainstream Hollywood cinema in terms of the separateness of its production or distribution, or its thematic and/or formal transgressions, can also be seen as distinctive in terms of its musical expression. This thesis will investigate the impact that these popular music cultures have had on contemporary American independent film since the 1980s. The primary objective of this thesis is not to discuss how these films are positioned within the industry (this has been done elsewhere), nor is it the aim to scrutinise a film's independentness (or 'unindependentness') in terms of its production, but rather to assert how music functions in these films and how a notion of independence (indieness) can be measured from the relationship between the film, its soundtrack, and a wider music culture. This will involve textual analyses of how popular music has been used to score a selection of key independent films (ranging from Blue Velvet and Do the Right Thing through to Ghost World and Juno), how popular music trends and subcultures have been represented on screen (such as dance music culture in Go), and how the film and music worlds have interacted, particularly through collaborations between directors and pop musicians (such as Darren Aronofsky and Clint Mansell).
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Whyte, Ross. "Perpetual erosion : impermanence in audio-visual intermedia." Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=196018.
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Roper, Robyn. "An investigation of the impact of visual culture on visual arts practice and visual arts education." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2005. https://ro.ecu.edu.au/theses/620.
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This research project is based on the premise that school students have a right to an education that assists them to "develop a sense of personal meaning and identity, and be encouraged to reflect critically on the ways in which that occurs." (Curriculum Frameworks, 1998, Values, Statement 2.2 Personal meaning: 325). Not only should education offer students a sense of well being, it should make a difference to their lives and foster an appetite for life long learning. A key ingredient that makes for a rich, fulfilling and rewarding life, is an understanding of visual culture, that according to Freedman (2003:1), "inherently provides context for the visual arts and points to the connections between popular and fine arts forms".
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Woods, Carrie L. "Visual Culture: A Case Study." Ohio : Ohio University, 2007. http://www.ohiolink.edu/etd/view.cgi?ohiou1193266191.
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Hendrickson, Laura M. "Against photography : the idea of music in Pre-Raphaelite visual reform." View abstract/electronic edition; access limited to Brown University users, 2008. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3318327.
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Kimbrel, Deanna Niccole. "The visual analysis of heterogeneous sex role interactions : a content analysis of popular music videos /." Online version of thesis, 2008. http://hdl.handle.net/1850/7904.
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Pitkänen, Johanna. "Metsän väki - Forest Dwellers : creating a collaborative, semi-improvised performance that combines music, visual art, dance and performance art." Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-2121.
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‘Metsän väki - Forest Dwellers’ was my Professional Integration Project (PIP). The project consisted of creating a performance titled ‘Metsän väki’, which was performed on May 9th 2016 in Helsinki, Finland and of writing this thesis. The performance was a collaboration between different artists and it involved music, visual art, dance and performance art. The starting point for creating the performance was my collaboration with sculptor and environmental artist Jenni Tieaho. In addition to traditional instruments, sounding objects were used in creating the music. There were both written and improvised music as well as improvised dance in the performance. The performance took place in a former psychiatric hospital. In the outcomes and conclusion I present my expectations for the performance and describe how those where met. I also examine the role of cross-artistic collaboration in the project. I give examples of my own artistic development as well as my development as a project leader. I also reflect on the relevance of the project to the community. The outcomes are presented through my own reflections and through discussion where I point to literature concerning the differences and similarities between different art forms. The outcomes of the project include audience feedback from the performance. This is presented in the appendices. My conclusion shows that I was also able to create a rich and diverse performance by using simple (low-tech) methods. The performance was inspired by my experiences, interests and background. In my thesis I also show how creating and structuring the ‘Metsän väki’ performance can help me to develop as an artist doing cross-artistic collaboration.Professional Integration Project
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Karle, Ryan. "Leveraging Sound, Space and Visual Art in an Installation." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1460.
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Because of my distrust for self-expression through verbal language, my pursuit thus far in art has been to discover a satisfactory means of self-expression. In study of the work I’ve created across all mediums, through poetry, music and visual art, this desire for a satisfactory outlet of self-expression has resulted in a drive to create meaning through combining mediums. Throughout this semester, my interest in mixed mediums has resulted largely in experimentation with the combination of music and visual art, as well as exploring the standalone merit of each. This also entails a study of their overlaps, cooperative influence, and the effectiveness in establishing comprehensible and replicable patterns with which artists can make themselves understood. The installation Hyper Vigilant leverages the three-wall space provided, the graffiti-like, cartoonish imagery, and the soundscape (which combines chatter and music) to create an environment in which the feelings I experience in an episode of panic, or in a bout of anxiety are fully represented. This paper will discuss the use of a combination of sound, visual art and space in an installation, through an exploration of the art theory, and a discussion of precedents. It will ultimately culminate in an examination of the installation at hand.
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Rhoades, Michael Jewell. "Composing Holochoric Visual Music: Interdisciplinary Matrices." Diss., Virginia Tech, 2021. http://hdl.handle.net/10919/102159.
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With a lineage originating in the days of silent films, visual music, in its current incarnation, is a relatively recent phenomenon when compared to an historically broad field of creative expression. Today it is a time-based audio/visual territory explored and mined by a handful of visual and musical artists. However, an extensive examination of the literature indicates that few of these composers have delved into the associable areas of merging virtual holography and holophony toward visual music composition. It is posited here that such an approach is extremely rich with novel expressive potential and simultaneously with numerous novel challenges. The goal of this study is, through praxis, to instantiate and document an initial exploration into the implementation of holochory toward the creation of visual music compositions.
Obviously, engaging holochoric visual music as a means of artistic expression requires an interdisciplinary pipeline. Certainly, this is demonstrated in merging music and visual art into a cohesive form, which is the basis of visual music composition. However, in this study is revealed another form of interdisciplinarity. A major challenge resides with the development of the means to efficiently render the high-resolution stereoscopic images intrinsic to the animation of virtual holograms. Though rendering is a challenge consistent with creating digital animations in general, here the challenge is further exacerbated by the extensive use of multiple reflections and refractions to create complexity from relatively simple geometric objects. This reveals that, with the level of computational technology currently available, the implementation of high-performance computing is the optimal approach.
Unifying such diverse areas as music, visual art, and computer science toward a common artistic medium necessitates a methodological approach in which the interdependency between each facet is recognized and engaged. Ultimately, a quadrilateral reciprocative feedback loop, involving the composer's sensibilities in addition to each of the other facets of the compositional process, must be realized in order to facilitate a cohesive methodology leading toward viability.
This dissertation provides documentation of methodologies and ideologies undertaken in an initial foray into creating holochoric visual music compositions. Interlaced matrices of contextualization are intended to disseminate the processes involved in deference to composers who will inevitably follow in the wake of this research. Accomplishing such a goal is a quintessential aspect of practice-based research, through which new knowledge is gained during the act of creating. Rather than formulating theoretical perspectives, it is through the praxis of composing holochoric visual music that the constantly arising challenges are recognized, analyzed, and subsequently addressed and resolved in order to ensure progression in the compositional process. Though measuring the success of the resultant compositions is indeed a subjective endeavor, as is the case with all art, the means by which they are achieved is not. The development of such pipelines and processes, and their implementation in practice, are the basic building blocks of further exploration, discovery, and artistic expression. This is the impetus for this document and for my constantly evolving and progressing trajectory as a scholar, artist, composer, and computer scientist.Doctor of Philosophy
In this paper the author explores the idea that, owing to their shared three-dimensional nature, holophons and holograms are well suited as mediums for visual music composition. This union is ripe with creative opportunity and fraught with challenges in the areas of aesthetics and technical implementation. Squarely situated upon the bleeding edge of phenomenological research and creative practice, this novel medium is nonetheless within reach. Here, one methodological pipeline is delineated that employs the convergence of holography, holophony, and super-computing toward the creation of visual music compositions intended for head mounted displays or large scale 3D/360 projection screens and high-density loudspeaker arrays.
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Gregoli, Roberta. "Representations of gender and sexuality in Brazilian popular cinema." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:e12a66ed-eaf1-4450-9632-371a07827f46.
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This study investigates the representation of gender and sexuality in Brazilian popular comedies. Due to its responsiveness to contemporary trends, popular cinema is a privileged locus for the analysis of social and cultural change. Comedy, in particular, is a fecund corpus for the study of power relations due to its ambivalent relation with the hegemonic power. While inherently relying on the status quo, comedy constantly pushes the boundaries of the socially acceptable; by transgressing and therefore expanding the boundaries of traditional gender representations, new models of femininity and masculinity emerge in these films in line with the changes of their time. This argument is supported by the close analysis of ten influential films spread across the three most prominent cycles of Brazilian popular cinema history: the chanchada in the 1950s, the pornochanchada in the 1970s and the Globochanchada in the 2000s. In the light of Mikhail Bakhtin's theorisation on the carnivalesque, and with the support of psychoanalytical theory, this study demonstrates that times of profound economic and political change call for a revision of gender models, and that comedy has been the preferred genre for Brazilian directors to provide a means of addressing, and coping with, the new demands on femininity and masculinity.
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Babb, G. Kyle Boyd Jean Ann. ""Roll over Beethoven" the reaction of classical music recording divisions to the continuing emergence of a consumer culture in America between 1956 and 1982 /." Waco, Tex. : Baylor University, 2007. http://hdl.handle.net/2104/5043.
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Frantz, Charles Frederick. "Fin-de-siècle visual art and Debussy's music : new paths for analysis and interpretation /." Ann Arbor : Mich. : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb37121936n.
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Domer, Adam D. Daugherty Michael. "Analysis of Michael Daugherty's "Le tombeau de Liberace"." Akron, OH : University of Akron, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=akron1239633394.
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Thesis (M.Mus.)--University of Akron, School of Music-Music Theory, 2009."May, 2009." Title from electronic thesis title page (viewed 9/30/2009) Advisor, Daniel W. McCarthy; Committee members, Michele D. Mills, Nikola Resanovic, Brooks A. Toliver; Director of the School, William K. Guegold; Dean of the College, James Lynn; Dean of the Graduate School, George R. Newkome. Includes bibliographical references.
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McNellis, Rachel. "Imitating Christ in Ars Subtilior Picture Music: Intersections with Theological Symbolism and Visual Traditions." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1554293604378994.
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Worth, Richard Julian Atkinson. "Portfolio of compositions focussing on a combination of western art music with popular and jazz idioms." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8922.
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1) ballet suite 2) trombone concerto 3) B.A.C.H. 4) piano quintet 5) Greenman blue 6) mwile 7) Agag’s groove 8) springtime in Somerville 9) complex needs 10) appendix trombone concerto chamber version.
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Glyde-Bates, Alexander. "Critiquing Classical Kitsch : a portfolio of compositions that critique the 'popular classics' of Western Art Music." Thesis, University of Southampton, 2017. https://eprints.soton.ac.uk/419650/.
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This portfolio of compositions and accompanying commentary explores methods of engagement with iconic works from Western Art Music as an embedded, contingent aspect of a wider contemporary Western culture. The primary aim of this portfolio was to create a set of compositions that concretely engaged with well-known works from the Western Art Music canon explicitly as works and not as quotation. Secondly, it aims to find a set of methods for treating these historical works that not only engages with their materiality, but also with aspects of cultural association and reception that have accrued around them. To these ends, the portfolio draws on historical approaches to the application of Critical Theory in other artistic disciplines such as theatre and the visual arts. These approaches, which are discussed and critiqued within the opening methodological section of the commentary, form a set of frameworks that provided stimulation for the compositions that are presented in the portfolio. The portfolio of compositions, and their discussion within the commentary, are presented in the chronological order of their creation. This thesis, therefore, provides a selection of snapshots in time that reflect an on-going and dynamic process of composition, performance and critical reflection, whereby reflection on the approaches applied to one work feed directly and indirectly into the composition of the next. The portfolio and accompanying commentary thereby blends narrative account with systematic inquiry.
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Nicolau, Netto Michel 1978. "O discurso da diversidade = a definição da diferença a partir da world music." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280864.
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Orientador: Renato José Pinto OrtizTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-19T21:01:50Z (GMT). No. of bitstreams: 1 NicolauNetto_Michel_D.pdf: 5232732 bytes, checksum: 923f6a074b8a670cc13eeebf7eb461e8 (MD5) Previous issue date: 2012
Resumo: A valorização contemporânea da diversidade revela um mundo atento à diferença. De fato, se um dia lutávamos pelo direito de sermos iguais, hoje, paradoxalmente, também clamamos pelo reconhecimento de nossas diferenças. Nesse sentido, vozes que discursam sobre essas diferenças hoje precisam ser ouvidas e ressoam pelo mundo ao habitarem o espaço global. Contudo, de que diferenças estamos falando? A permanência de nosso olhar no seio das relações sociais muitas vezes impede que notemos que, na verdade, as diferenças são construídas social e historicamente. Não basta que as coisas se diferenciem, mas é preciso um contexto no qual seja possível a seleção de índices suficientes de diferenciação para que essas sejam classificadas e, por consequência, hierarquizadas. Dessa forma, duas coisas se diferenciam apenas quando índices específicos são legitimados e, então, discursados. Por isso, a diferença é necessariamente uma construção discursiva que se realiza pelas próprias práticas discursivas, mas que somente podem surgir em relação a determinadas realidades concretas. No século XIX a diferença fora construída a partir da organização do exótico. É em relação a ele, em um momento no qual o discurso universal e a nação criavam a separação entre internalidades e externalidades centradas no imperialismo europeu, que a diferença fora articulada. Na contemporaneidade, contudo, o mundo perde seu centro e as relações entre externo e interno não mais podem organizar um discurso, sendo esse percebido na diversidade. O discurso da diversidade, portanto, surge na contemporaneidade como forma de ordenar o diferente a partir de bases concretas na sociedade, mas também por interrelações entre enunciados específicos. Podemos notar a operação desse discurso ao voltarmos nossos olhos para um objeto específico: World Music. Nele, a música é valorizada pela própria diferença, sendo então necessário se compreender quais os índices tornados suficientes para a diferenciação. Propomos que neste objeto os índices privilegiados são o local e a etnia. Com essa mirada, então, mais importam as forças relacionadas à determinação dos índices do que a tentativa de se perceber um mundo mais ou menos homogêneo. É dessa forma que poderemos compreender as implicações sociais e o condicionamento das vozes presentes no discurso da diversidade
Abstract: The value given to diversity in our times shows just how attentive the world is to difference. In fact, where we once fought for equal rights we now look to establish our sense of difference. In this sense, voices who speak about these differences need to be heard today and resonate throughout the world. But what differences are we talking about? The permanence of our attention within social relations often prevents us from noticing that, in fact, we're talking about differences that are socially and historically constructed, and therefore of interest to sociology. It's not enough that things are distinct, but we need a context in which it is possible to select sufficient levels of differentiation for things to be classified and consequently put in hierarchies. Thus, two things are different when specific factors are legitimized and then discoursed. Therefore, the difference is necessarily a discursive construction that takes place by their own discursive practices, but that can only arise in relation to certain realities. In the nineteenth century, difference was built from the organization of the exotic. And it's in relation to this, at a time in which the universal discourse and the nation, centrered on European imperialism, created the separation between the internalist and the externalist view, that the difference was articulated. In contemporary times, however, the world loses its centre and the relationship between internal and external can no longer organise a discourse, this being perceived in the diversity. The discourse of diversity, therefore, arises in the contemporary world as a way to order the different from concrete foundations in society, but also by interrelationships between specific enounciation. We can note the operation of this discourse by examining a specific object: World Music. In it, the music is valued by the difference, so one needs to understand what are the factors that make the differentiation sufficient. We propose that with this object the privileged factors are location and ethnicity. With this look, then, it's of importance to understand the forces related to the determination of these factors rather than the attempt to realize a more or less homogeneous world. And so we can understand the social implications and the conditioning of the voices present in the discourse of diversity
Doutorado
Sociologia
Doutor em Sociologia
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Underriner, Chaz 1987. "The Sound-Poetry of the Instability of Reality: Mimesis and the Reality Effect in Music, Literature, and Visual Art." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849623/.
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This paper uses the concept of mimesis to clarify the debate concerning the representation of reality in music. Specifically, this study defines the audio reality effect and the three main practices of realism as a way of understanding mimetic practices in multiple artistic media, in particular regarding the multimedia works of the "Landscape series." After addressing the historical debates concerning mimesis, this study develops a framework for the understanding of mimesis in sound by addressing the writings of Weiss, Baudrillard, Barthes, Deleuze, and Prendergast and by examining mimetic practices in 19th-century European painting and multimedia performance works. The audio reality effect is proposed as a meaningful translation of Roland Barthes' literary reality effect to the sonic realm. The main trends of realist practice are applied to electroacoustic music and soundscape composition using the works and writings of Emmerson, Truax, Wishart, Risset, Riddell, Smalley, Murray Schafer, Fischman, Young, and Field. Lastly, this study mimetically analyzes "2 seconds / b minor / wave" by Michael Pisaro and Taku Sugimoto and the works of the "Landscape series" in order to demonstrate the relevance of mimesis for understanding current musical practice.
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Behrendt, Frauke. "Mobile sound : media art in hybrid spaces." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/6336/.
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The thesis explores the relationships between sound and mobility through an examination of sound art. The research engages with the intersection of sound, mobility and art through original empirical work and theoretically through a critical engagement with sound studies. In dialogue with the work of De Certeau, Lefebvre, Huhtamo and Habermas in terms of the poetics of walking, rhythms, media archeology and questions of publicness, I understand sound art as an experimental mobile and public space. The thesis establishes and situates the emerging field of mobile sound art by mapping three key traditions of mobile sound art - locative art, sound art and public art - and creates a taxonomy of mobile sound art by defining four categories: 'placing sounds', 'sound platforms', 'sonifying mobility' and 'musical instruments' (each represented by one case study). In doing so it develops a methodology that is attentive to the specifics of the sonic and mobile of media experience. I demonstrate how sonic interactions and embodied mobility are designed and experienced in specific ways in each of the four case studies - 'Aura' by Symons (UK), 'Pophorns' by Torstensson and Sandelin (Sweden), 'SmSage' by Redfern and Borland (US) and 'Core Sample' by Rueb (US) (all 2007). In tracing the topos of the musical telephone, discussing the making and breaking of relevant micro publics, accounting for the polyphonies of footsteps and unwrapping bundles of rhythms, this thesis contributes to understanding complex media experiences in hybrid spaces. In doing so it critically sheds light on the quality of sonic artistic experiences, the audience engagement with urban, public and networked spaces and the relationship between sound art and everyday media experience. My thesis provides valuable insight into auditory ways of mobilising and making public spaces, non-verbal and embodied media practices, and rhythms and scales of mobile media experiences.
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Camara, Samba. "Recording Postcolonial Nationhood: Islam and Popular Music in Senegal." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1510780384221502.
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Hicks, Jonathan Edward. "Music, place, and mobility in Erik Satie's Paris." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:b5cca39d-7479-4a12-91de-e303a285c81c.
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Erik Satie (1866-1925) lived, worked, walked, and died in Paris. The key locations of his career – all within a single urban region – are well known and well researched. Yet he has often been presented as an eccentric individualist far removed from any social or geographical context. This thesis seeks to address – and redress – the decontextualisation of Satie’s career by re-imagining his music and biography in terms of the places and mobilities of turn-of-the-century Paris. To that end, it draws on a range of documentary and fictional material, including journalistic and scholarly reception texts, illustrated musical scores, chanson collections, contemporary visual culture, and cinematic representations of the people, place(s), and period(s) in question. These diverse primary and secondary sources are discussed and interpreted via a set of on-going debates at the intersection of historical musicology, cultural history, and urban geography. Some of these debates can be traced through existing research on the geography of music. Others are more local to this project and derive their value from suggesting alternative approaches to familiar problems in the study of French musical modernism. The main aim throughout is to develop a better understanding of the relations existing between Satie’s musical life, his compositional strategies, and the changing urban environment in which he plied his trade. Chapters One and Two focus on the working-class suburb of Arcueil and the ‘bohemian’ enclave of Montmartre. Chapters Three and Four are organised thematically around issues of musical humour and everyday life. By using the particular example of Satie’s Paris, the thesis proposes that more general avenues of enquiry are opened up into music and the city, thus demonstrating the potential benefits of incorporating the urban-geographic imagination into historical musicology more broadly, and bringing musicological thinking to bear on inter-disciplinary discussions about space, place, and mobility.
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Vermorel, Fred. "Biography & identity, celebrity & fanhood : researching intersections of avant-garde and popular culture." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22495/.
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This PhD by publication critically reviews the background, context, and reception of work published from 1978-2008. The work surveyed, comprises popular music biography, texts on art school influenced bohemia and counterculture, and on celebrity and fan culture. The social and cultural context of the work is mapped and methodological and stylistic issues addressed. The origins of the punk aesthetic through the Sex Pistols is charted. The turn in celebrity studies towards a "fan culture" based approach is demonstrated by the publication of 'Starlust' in 1985. Subsequent work on "fan culture" is discussed. Issues relating to researching and theorising popular culture and cultural and design history are debated. Extracts from the publications cited are provided.
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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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Atkinson, Victoria. "Unravelling the musical in art : Matisse, his music and his textiles." Thesis, University of Essex, 2017. http://repository.essex.ac.uk/21219/.
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From flamenco guitarists to parlour pianists, Matisse’s images of music-making often appear within decorative scenes of gleaming carpets, multi-coloured costumes and lavishly embroidered wall hangings. All of these textiles and more comprised what he called ‘ma bibliothèque de travail’, a working library of inspiration that he maintained throughout his career. ‘I am made up of everything I have seen,’ he remarked, to which he might have added, ‘and heard.’ Practising, performing, listening and concert-going: music, like textiles, was a lifelong pursuit. But his passion for them is not simply of anecdotal significance, nor does it explain their mere co-existence as the subject-matter of his art. Rather, just as music and textiles are interwoven at every stage of his life, so too is their structural and conceptual significance in his work. In a series of case studies, a single textile from his working library is paired with the art it inspired: the kasāya robe and 'The Song of the Nightingale'; the Moghan rug and the Symphonic Interiors; and the Bakuba velours and 'Jazz'. In each case, visual form is found to have musical counterpart, both in the textiles themselves and as represented by Matisse. This opens up new, more imaginative possibilities of interpreting his visual musicality, which is found to be metaphysical, modal and motivic in concept. Finally, these separate strands are drawn together in a single synoptic analysis of the Chapel of the Rosary, the artist’s self-proclaimed masterpiece and ‘total’ work of art. This thesis explores the expansive musical space created by the reduced visual form of textiles. Considered together for the first time, these enduring and inseparable continuities of Matisse’s art – music and textiles – suggest not only a means of unravelling his own visual musicality, but point towards a much-needed methodology for interpreting this notion more broadly.
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Dias, Paulo Henrique Barbosa. "Musica que meu povo gosta." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280467.
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Orientador: Jose Mario Ortiz RamosTese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: A tese analisa os modos como um grupo de sujeitos localizados socialmente define suas preferências por bens simbólicos em geral e por obras, intérpretes, gêneros e estilos musicais em particular. Para tanto procuro 1) definir que lugar ocupa o consumo de bens simbólicos ¿ em especial a música ¿ no conjunto de experiências de que os sujeitos participam ¿ a posição deste tipo de consumo na hierarquia de suas prioridades; e 2) descrever as situações concretas em que as obras são apreendidas e os processos através dos quais as experiências de que o sujeito participa cotidianamente definem os significados atribuídos às obras.. A pesquisa toma por referencial empírico habitantes de uma região localizada na periferia de Campinas (Distrito Industrial de Campinas, o DIC). Tal escolha deveu-se ao meu interesse em abordar a discussão sobre gosto ancorando-a no espaço social definido pelo pertencimento aos segmentos populares. Assim, associa-se, na pesquisa, análises de correlações entre fatores sócio-econômicos e práticas de consumo de bens simbólicos às baseadas em observações etnográficas dos comportamentos e percepções dos atores. Entre muitos padrões observados pode-se perceber a predominância dos repertórios caracterizados pelo ecletismo, o que em determinadas situações estaria associado a algum grau de tolerância à diversidade
Abstract: This thesis analyze the ways that groups of specific places define your preferences about symbolic goods in general and about oeuvres, interprets, genders and musical styles in particular. To make this work try to:1) define the place of the consume of symbolic goods ¿ especially music ¿ in these peoples¿ experiences ¿ the position of this kind of spend in the priorities¿ hierarchy; 2) To describe the concrete situations where the artistic oeuvres are apprehended and the process through of the daily experiences of this people define the meanings attributed to this oeuvres. The research uses as empiric referential, the habitants of a region placed in the Campinas¿ periphery (Industrial District of Campinas, DIC). This choice comes from my interests in approaching the discussion about taste linked in the social space defined by the belonging to the popular social segments.Thus, it is associated in the research, analysis of correlations between socioeconomics factors and practices of consume of symbolic goods. Among many patterns observed it is possible to perceive the predominance of repertories characterized by the eclecticism. It, in some circumstances, could be associated to the tolerance to the diversity
Doutorado
Doutor em Ciências Sociais
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Reyes, Navarro Javiera Natalia. "Creating Chilean Identities to the Rhythm of Japanese Rock: A Study of Santiago de Chile’s Visual Kei Fandom as Subculture." Doctoral thesis, Universitat Autònoma de Barcelona. Programa de Doctorat en Traducció i Estudis Interculturals, 2021. http://hdl.handle.net/10803/672025.
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Durante la primera década del nuevo milenio, la televisión, revistas y periódicos chilenos se enfocaron en grupos de jóvenes y en sus estilos de moda, gustos musicales y tendencia a utilizar los espacios públicos como lugares de reunión. Aquellos de la capital, Santiago de Chile, fueron los de más interés debido a su tamaño y fueron categorizados como tribus urbanas. Entre ellos, uno se destacaba por sus extravagantes cabellos, ropas y maquillaje oscuros, androginia y el idioma de la música que escuchaban: visuals, el nombre otorgado a los fans chilenos del género musical japonés visual kei. El visual kei había llegado a las audiencias chilenas como parte del influjo de cultura popular japonesa que, a su vez, había sido encabezado por el anime. Sin embargo, el visual kei en Chile había evolucionado hasta convertirse en su propio ambiente especializado y distinguible tanto de otros grupos basados en géneros musicales como de otras asociaciones formadas alrededor de medios japoneses.Esta investigación trabaja con la idea de que los visuals de Santiago de Chile constituyen una subcultura, la cual sigue patrones fijadas por una larga tradición de culturas juveniles en el país. En este desarrollo, el visual kei sirve, por una parte, como un factor aglutinante y, por otra, como un elemento de articulación de identidades en relación a la sociedad chilena en general. Estos problemas se exploran a través de la aplicación del concepto de «subcultura» en su acepción desarrollada por el Centro de Estudios de Cultura Contemporánea de la Universidad de Birmingham y teóricos posteriores. Apoyándose en investigación etnográfica, el presente trabajo concluye que los visuals de Santiago operan como una subcultura en términos de sus espacios y experiencias compartidos y de los límites cambiantes que han desarrollado a través de su historia.During the first decade of the new millennium, Chilean television, magazines, and newspapers turned their attention to groups of young people and their fashion styles, music tastes, and tendency to use public spaces as gathering spots. The ones of the capital, Santiago de Chile, were of the most interest due to their size and were categorized as urban tribes. Among them, one stood out due to its members’ outrageous hairstyles, dark makeup and clothing, androgyny, and the language of the music to which they listened: visuals, the name given to Chilean fans of the Japanese music genre visual kei. Visual kei had reached Chilean audiences as a section of Japanese popular culture influx spearheaded by anime yet had evolved into its own niche scene that stood separate from both other music genre-based groups and from other associations formed around Japanese media. This research works with the notion that Santiago de Chile’s visuals constitute a subculture that follows patterns that had been set by a long tradition of Chilean youth cultures. In this development, visual kei serves as, on the one hand, an agglutinating factor and, on the other, as an element of the articulation of identities in relationship with Chilean society at large. These issues are explored through the application of the concept of “subculture” as developed by the University of Birmingham’s Centre for Contemporary Cultural Studies and subsequent theorists. Supported by ethnographic research, it finds that Santiago’s visuals work as a subculture in terms of shared experiences, spaces, and the shifting boundaries that have developed throughout its history.
Universitat Autònoma de Barcelona. Programa de Doctorat en Traducció i Estudis Interculturals
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Dinerstein, Joel Norman. "Swinging the machine : White technology and Black culture between the World Wars /." Digital version accessible at:, 2000. http://wwwlib.umi.com/cr/utexas/main.
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Winczewski, Marianna Jadwiga. "Consumption, pastiche and identity in postmodern visual culture." Diss., University of Pretoria, 2008. http://hdl.handle.net/2263/23499.
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In this mini-dissertation the ongoing battle between the self and late-capitalist society is explored as a theoretical response to the notion of the fragmented subject in relation to postmodernism. Frederic Jameson links the schizophrenic subject and postmodern culture explicitly to societal changes in Western economies: this author's tradition outlines a main part of my theoretical stance within this mini-dissertation. Jameson, decisive in his criticism of current popular culture that has formed as a result of postmodernism, conveys a key dystopic viewpoint in his association of schizophrenia with postmodernism and late-capitalism. This sentiment is echoed in this mini-dissertation, as it is my belief that capitalist consumption habits and pastiche are interrelated in current popular visual culture, simulating a schizoid experience which consumers in turn mirror when formulating a sense of self. An essentially fragmented (postmodern) viewpoint with regard to postmodern visual culture is argued, and is aligned with Jameson's perspective on how subjects form identities within late capitalism, with pastiche and consumption labelled as the main causes of the contemporary societal problem of fragmentation. The main contention of the study is thus that contemporary consumption practices, through the stylistic acceptance of pastiche, are the current causes of fragmentation within the self. This naturalisation of postmodern montage and pastiche, in my opinion, effectively disorientates consumers, as similar techniques that are adopted in consumer culture are applied to identity formation, thus contributing to a sense of egolessness, a key characteristic of schizophrenia. Focus is placed on visual examples that highlight postmodern techniques of nostalgic image recycling, aligned to similar postmodern identity models, with parallels drawn between the fragmenting individual and the consuming individual. As exceedingly discontinuous processes of change occur through capitalist consumption habits that are emblematic characteristics of the postmodern condition, it is thus my belief that current postmodern visual culture contributes to an overall fragmented experience of the individual, where consumer practices are negatively affecting identity construction, and thus spurring on further cultural fragmentation and social disintegration. CopyrightDissertation (MA)--University of Pretoria, 2010.
Visual Arts
unrestricted
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Johansson, Fredrik. "Den konstnärliga hanteringen av ljud : En studie av ljudkonst och populärkultur." Thesis, Linköpings universitet, Institutionen för kultur och kommunikation, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-65686.
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Uppsatsen undersöker med konstformen ljudkonst och den konstnärliga hanteringen av ljud i fokus en interaktion mellan finkultur och populärkultur. Fokus ligger på aktörer inom populärkulturen som använt sig av konstnärliga strategier med rötter i finkulturen. Undersökningen spårar ljudkonstens historiska bakgrund och främst de förlopp som bidragit till att det är en gränsöverskridande konstform. Den populärkulturella konstvärldens etablering som en social organisation där konstnärlig verksamhet är möjlig undersöks.With concentration on the art form sound art and the artistic treatment of sound, this essay investigates an interaction between the fine arts and popular culture. The focus is on participants within popular culture that used artistic strategies with roots in the fin arts. The study traces sound arts historical background and the events that contributed to the fact that it is an interdisciplinary art form. The pop-cultural art world’s establishment as a social organization where artistic activity is possible is studied.
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Mathayomchan, Somsuda. "Do Re Mi? Yes! Using Music and Visual Arts to Promote Thai Children's English Vocabulary Development." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849681/.
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This research examines the efficacy, if any, of the Music and Visual Arts (MVA) program in improving the English vocabulary development of first grade Thai students. The researcher developed the Vocabulary Recognition Assessment (VRA) as a measure of English vocabulary development. It employs the accuracy and rapidity method of word recognition as a measurement of English language development in Thai children.
Forty first grade Thai students in a Bangkok elementary school participated in the study. Participants were divided equally between an experimental group and a control group. During a nine-week period, students in the experimental group were instructed with the MVA strategy, while students in the control group were taught with the Visual Arts (VA) strategy. Paired sample t-test, ANOVA, and ANCOVA were used to analyze data from the VRA, to compare the pre-test and the post-test in terms of accuracy scores and rapidity scores of the control group and the experimental group.
Data revealed that students instructed with the MVA strategy improved their English vocabulary development in terms of accuracy of word recognition significantly more than students taught English using the VA strategy. No significant difference was found between the MVA strategy and the VA strategy in terms of rapidity of word recognition. The MVA strategy could be a useful strategy for Thai early childhood teachers to use in helping Thai children learn English vocabulary.
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Chen, Hsiao-ping. "The Significance of Manga in the Identity-Construction of Young American Adults: A Lacanian Approach." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1292280906.
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Berndalen, Christian. "Populärmusik, konstmusik eller bara musik? : En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk." Thesis, Karlstads universitet, Musikhögskolan Ingesund, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13443.
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Det är inte ovanligt att viss rock- och annan populärmusik tillskrivs konstnärliga ambitioner, eller förses med epitet som "konstnärlig" och "konstmusikalisk". Sällan utvecklas emellertid på vilket sätt detta konstnärliga tar sig uttryck. Uppsatsens syfte är att musikanalytiskt undersöka vad som kan motivera formuleringarna och om de kan anses adekvata. Materialet för undersökningen är tre verk/låtar ur rockgenren, som beskrivits med ovanstående begrepp: Close to the Edge med gruppen Yes från 1972, Sense of Doubt med David Bowie från 1977 och Sleep med gruppen Godspeed You! Black Emperor från 2000. Metoden är den auditiva musikanalysen, vilket innebär att analysen utgår från ett aktivt lyssnande på musikens förlopp. Två fokus finns: ett på själva musiken; ett på de intentioner i och med verket/låten som kan föreligga. Analysen utgår från en definition av begreppen konst- och populärmusik som görs i början av uppsatsen. Denna grundar sig i sin tur på en genomgång av begreppsdefinitioner i framförallt lexikon och ordböcker, men också i musikvetenskaplig litteratur och den kan därmed göra anspråk på en viss allmängiltighet. Resultatet av analysen visar att samtliga musikexempel går utanför ramarna för definitionen av populärmusik, samtidigt som de uppvisar flera egenskaper som faller inom konstmusikdefinitionen. Beskrivningarna av låtarna som konstmusikaliska och konstnärliga kan alltså anses adekvata. Analysen och den föregående begreppsdiskussionen medvetandegör emellertid också den problematik som ryms i distinktionen konst- respektive populärmusik. Detta utvecklas i uppsatsens slutdiskussion, där begreppen relateras till ett idéhistoriskt sammanhang. Distinktionen visar sig ha rötter i 1800-talets kulturdebatt och under 1900-talet har den närts av en modernistisk kultur- och samhällssyn. De senaste decenniernas postmodernistiska strömningar, med ökad värderelativism och uppluckrade musikaliska genregränser, har dock bidragit till att begreppen i allt större utsträckning spelat ut sin roll.It is not uncommon that certain rock and other popular music is attributed with artistic ambitions or is befitted with epithets such as "artistic" or "art music-like". However, it is rarely elaborated in which way these artistic qualities are conveyed. The purpose of this paper is to investigate from an analytical standpoint what can incentivize these wordings and if they can be viewed as adequate. The material for the investigation is three pieces/songs from the rock genre which have been described with the above terms: Close to the Edge by the group Yes from 1972, Sense of Doubt by David Bowie from 1977 and Sleep by the group Godspeed You! Black Emperor from 2000. The method is auditive music analysis which means that the analysis is based upon actively listening to the music. There are two areas of focus: one is on the music itself; one is on the intentions that may lie in and with the piece/song. The analysis is based upon a definition of the terms art music and popular music that is made at the beginning of the paper. This, in turn, is based upon a rundown of term definitions made in, above all, lexicons and dictionaries, but also in musicology, and thus it can claim a certain generality. The result of the analysis shows that all music examples move outside the boundaries of the definition of popular music and, at the same time, show qualities that fall inside the boundaries of the definition of art music. Thus, the descriptions of the songs as "art music-like" and "artistic" can be viewed as adequate. However, the analysis and the preceding term discussion raise awareness about the problems that are contained in the distinction between art music and popular music, respectively. This is elaborated in the concluding discussion in which the terms are interrelated to a contexture involving the history of ideas. The distinction is shown to have its roots in the cultural debate of the 19th century, and during the 20th century it has been nurtured by a modernist view of culture and society. The post-modernistic trends of the last few decades, characterized by increased value relativism and loosened musical genre boundaries, have contributed to making the terms obsolete.
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Savage, Shari L. "Lolita Myths and the Normalization of Eroticized Girls in Popular Visual Culture: The Object and the Researcher Talk Back." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1242768387.
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Silva, Neto João Marcondes da. "Fonograma: transnformações histórico-culturais e tendências tecnológicas no mercado da música popular brasileira (1902-2007)." Universidade Presbiteriana Mackenzie, 2009. http://tede.mackenzie.br/jspui/handle/tede/2022.
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The study notes that line the main Brazilian phonographic market changes, between 1902 and 2007. Classifying primary sources, phonograms, the structuring of knowledge. Includes in its history, the principle of the Brazilian phonographic market. The changes between the XIX and XX century for musicians in general. Illustrates a second time, the profiles of musicians, instruments and their role in the phonogram, the formation of Brazilian popular music. Presents the main changes to the product phonographic. It proposes a way to work artistically with the technologies available in the phonographic market.
Estudo que observa linearmente as principais modificações do mercado fonográfico brasileiro, entre 1902 e 2007. Classificando fontes primárias, fonogramas, na estruturação do conhecimento. Contempla em seu histórico, o princípio do mercado fonográfico brasileiro. As modificações ocorridas entre o século XIX e XX para os musicistas de forma geral. Ilustra num segundo momento, os perfis de musicistas, dos instrumentos e sua função no fonograma, da constituição da música popular brasileira. Apresenta as principais modificações do produto fonográfico. E propõe uma forma para trabalhar artisticamente com as tecnologias disponíveis no mercado fonográfico.
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Fernandes, Victor Guilherme Pereira. "Um passo à frente: história social de um rock brasileiro." Universidade Federal de Juiz de Fora (UFJF), 2016. https://repositorio.ufjf.br/jspui/handle/ufjf/3644.
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O trabalho que se segue busca elucidar a história social do gênero musical rock and roll no Brasil. Tal gênero tem sido tratado com certa indiferença por críticos e historiadores da música popular, reduzindo sua história social a ondas de popularidade aparentemente desconexas, marcadas pela jovem guarda e pelo surgimento do BRock na década de 1980. O tratamento dispensado ao rock and roll produzido no Brasil na década de 1970 é residual, inclusive na academia, contribuindo para a formação de uma imagem subdimensionada da produção musical daquele período. A pesquisa tem início com uma reconstituição do campo de produção da música popular brasileira da década de 1960, na qual se insere o nascente rock brasileiro, a fim de compreender como este gênero estrangeiro é recebido e interage com os demais gêneros populares com os quais concorria. Em seguida, procede-se a uma análise de trajetória com base na história da banda de rock A Bolha, conjunto que atravessa a década de 1970 enfrentando a falta de espaço para o gênero e a falta de interesse da mídia e da indústria fonográfica. Com isto, pretende-se descortinar as estruturas sociais vigentes constritoras do desenvolvimento do gênero naquele período. Trata-se de uma época marcada pelas restrições das liberdades civis em função do regime militar que vigorou de 1964 a 1985, o que foi, sem dúvida, fator fundamental para a conformação do campo de produção musical daqueles anos. A década de 1970 assistiu à consolidação da MPB como gênero musical dominante devido, entre outras coisas, ao prestígio acumulado na época dos festivais de música popular televisionados, à posição de enfrentamento ao regime, adotada pelos artistas que a ela se filiavam, e ainda, à aceitação da crítica e público consumidores por sua maior afinidade com as tradições musicais brasileiras pregressas. Por meio de uma análise estrutural do campo de produção musical à maneira bourdieusiana, pretende-se localizar os agentes tributários da constituição da representação social erigida em torno do gênero rock and roll no Brasil, de modo que se possa compreender como este segmento, que chegou a ameaçar o domínio da MPB em meados da década de 1960, passou a ocupar praticamente apenas os canais e espaços independentes da produção cultural que compõem a chamada “cena underground.”
The work that follows seeks to elucidate the social history of rock and roll musical genre in Brazil. This genre has been treated with indifference by critics and historians of popular music, reducing its social history the seemingly random waves of popularity, marked by the “Jovem Guarda” and the emergence of “BRock” in the 1980s. The treatment of the rock and roll produced in Brazil in the 1970s is residual, including the academy, contributing to the building of an undersized image of the musical production from that period. The research begins with a reconstruction of the Brazilian popular music production course of the 1960s, in which is included the incipient Brazilian rock in order to understand how this foreign genre is received and interacts with other popular genres which it contended with. A track analysis based on the rock band “A Bolha” (The Bubble), that had to face the lack of space for the genre as well as the lack of interest of the media and the music industry throughout the 70’s follows hereupon. It is intended to uncover the existing social structures constricting the development of the genre in that period. That was a time marked by restrictions on civil rights due to the military regime that ruled the country from 1964 to 1985, which was undoubtedly a key factor for shaping the musical production field of those years. The 1970s saw the consolidation of Brazilian popular music as the dominant musical genre owing to, among other factors, the prestigie accumulated by the Brasilian Pop Music Festivals shown on TV at that time, the facing off agaisnt the political regime adopted by the artists that joined it in, and yet, the acceptance of review critics and public consumers for their greater affinity with former Brazilian musical traditions. Through a structural analysis of the music production field to the Bourdieusian way, I intend to place the tax agents of the constitution of social representation built around the rock and roll genre in Brazil, so that you can understand how this segment, which threatened the MPB area in the mid-1960s, was to occupy only the channels and independent spaces of cultural production that make up the so-called "underground scene."
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Gray, Michael Alan. "Experiencing Music." VCU Scholars Compass, 2005. http://scholarscompass.vcu.edu/etd/1307.
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I am exploring the way music alters or enhances the perception of our environment. This creative project allows me to explore and visualize several issues that intrigue me: music (sound), emotion, and visual imagery (film). My goal in developing this topic is to allow others to have an experience related to sound and image, where image is altered and enhanced by the use of music.
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Brook, Madeleine E. "Popular history and fiction : the myth of August the Strong in German literature, art, and media." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:cb7df46e-ab52-4f27-a084-41d7fab5b54e.
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This thesis concerns the function of fiction in the creation of an historical myth and the uses that that myth is put to in a number of periods and differing régimes. Its case study is the popular myth of August the Strong (1670-1733), Elector of Saxony and King of Poland, as a man of extraordinary sexual prowess and the ruler over a magnificent, but frivolous, court in Dresden. It examines the origins of this myth in the late seventeenth and early eighteenth century, and its development up to the twenty-first century in German history writing, fiction, art, and media. The image August created for himself in the art, literature, and festivities of his court as an ideal ruler of extremely broad cultural and intellectual interests and high political ambitions and abilities linked him closely with eighteenth-century notions of galanterie. This narrowed the scope of his image later, especially as nineteenth-century historians selected fictional sources and interpreted them as historical sources to present August as an immoral political failure. Although nineteenth-century popular writers exhibited a more varied response to August’s historical role, the negative historiography continued to resonate in later history writing. Ironically, the myth of August the Strong represented an opportunity in the GDR in creating and fostering a sense of identity, first as a socialist state with historical and cultural links to the east, and then by examining Prusso-Saxon history as a uniquely (East) German issue. Finally, the thesis examines the practice of historical re-enactment as it is currently employed in a number of variations on German TV and in literature, and its impact on historical knowledge. The thesis concludes that, while narrative forms are necessary to history and fiction, and fiction is a necessary part of presenting history, inconsistent combinations of the two can undermine the projects of both.
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Hutten, Rebekah. ""You Spun Gold Out of This Hard Life": Feminist Worldmaking Practices in the Transmedia Storyworld of Beyoncé's Lemonade." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38194.
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This thesis examines the ways in which Beyoncé Knowles-Carter’s 2016 album Lemonade works as a culturally significant text in the realm of popular media. Situated within Black feminist theoretical concepts of freedom practices and Black Feminist Love Politics, the thesis argues that Lemonade mobilizes stylistic and strategic intertextual references to develop a transmedia storyworld within a paradigm of resistance to, and healing from, white supremacist histories. Such intertextual information exists within the musical, lyrical, visual, poetic, and transmedia domains of Lemonade. The transmedia extensions include interviews, live performances, speeches, social media posts, and photoshoots. Combined with theories from Black feminist thought of freedom practices—which include talking back (bell hooks 1989), dark sousveillance (Simone Browne 2015), and interruptions to whiteness (DiAngelo 2011)— and Black Feminist Love Politics (Jennifer Nash 2013), the intertextual data present in Lemonade can be analyzed using methodologies from the field of popular musicology (intertextuality and mediality).
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Bailey, Trenton. "Kemetic Consciousness: A Study of Ancient Egyptian Themes in the Lyrics and Visual Art of Earth, Wind & Fire, 1973-1983." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2017. http://digitalcommons.auctr.edu/cauetds/106.
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By the mid-1970s, Earth, Wind & Fire (EWF) became one of the most commercially successful pop music bands in the world. Their dynamic sound thrilled listeners and their elaborate concerts captivated audiences. EWF stood out from other artists with their philosophical messages and their use of ancient Egyptian symbols and imagery in their visual art. The ancient Egyptian themes intrigued fans but drew criticism from others. This study examines the ancient Egyptian themes incorporated into the lyrics of the songs recorded by the band. This study also examines the ancient Egyptian symbols used in the EWF’s visual art, including album covers, music videos, and concerts.
A content analysis was conducted to study the lyrics and identify themes related to ancient Egyptian spirituality. A content analysis was also used to study the visual art and decipher what the symbols may signify. This research was based on the premise that Earth, Wind & Fire used their artistry to be a positive influence. When the lyrics and visual art were examined, the researcher found that they both contain themes of ancient wisdom and universal truths. The conclusions drawn from the findings suggest that EWF’s mission was to raise the consciousness of the world, and the way people responded is an indication that the mission was accomplished. The findings also suggest that the negative criticism EWF has received is unjustifiable.
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Mora, Contreras Francisco Javier. "Las raíces del duende lo trágico y lo sublime en el cante jondo /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1196980354.
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Giesbrecht, Érica 1976. "O Passado Negro : a incorporação da memória negra da cidade de Campinas através das performances de legados musicais." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284470.
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Orientadores: Lenita Waldige Mendes Nogueira, Rita de Cássia Lahoz MorelliTese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: A crescente proliferação de grupos performáticos, que, através de manifestações culturais, divulgam "passados", convencionalmente chamados de "tradições culturais", tem rendido estudos e debates no campo da etnomusicologia em todo o mundo. Partindo da etnografia de grupos de cultura popular afro-brasileira sediados na cidade de Campinas - São Paulo, proponho uma reflexão sobre as dinâmicas que particularizam tal processo ali. No auge da economia cafeeira do Brasil no século XIX, a cidade foi um pólo produtivo, concentrando um grande contingente de escravizados a quem se atribui atualmente a criação de diversos estilos musicais. Entretanto os atores da conjuntura atual não descendem necessariamente daqueles escravizados, não pertencem a uma comunidade isolada ou a grupos familiares demarcados. Performando um legado musical atribuído àqueles escravos, esses grupos - dentre os quais acompanhei o Urucungos, Puítas e Quijêngues, a Casa de Cultura Nação Tainã, o Jongo Dito Ribeiro, e o grupo Maracatucá - nos colocam uma questão: por que grupos "não tradicionais" se interessam pelos chamados repertórios tradicionais, escolhendo, pesquisando e recriando suas performances? Sem eliminar outras possíveis respostas, defendo que as performances desses grupos engendram a intencional incorporação desse "passado negro" através de sua música, devolvendo aos corpos de seus participantes o controle sobre si mesmos. Usamos esta expressão, "passado negro", quando não queremos reconhecer acontecimentos de nosso passado que nos causam desconforto no tempo presente. Ambiguamente essa expressão também sintetiza tudo o que se relaciona à memória dos escravos da Campinas do século XIX. Renegado por uma cidade que ostenta um cenário urbano modernizado e essencialmente branco, esse passado aflora nos cabelos, nos tecidos, na cultura, na dança e na memória reconstruída de transeuntes negros que, por meio da performance, (re)enegrecem. Apropriar-se deste legado cultural através da performance significa remexer nas cinzas do esquecimento; é opor-se aos processos de exclusão do presente juntando-se a uma história e uma memória maior e desenterrando um passado trágico para que jamais seja esquecido
Abstract: The increasing propagation of cultural groups dedicated to the performance of the so called "cultural traditions", has yielded studies and debates in the field of ethnomusicology worldwide. From the ethnography of popular cultural groups based in Campinas - São Paulo, I propose a reflection on the dynamics that distinguish their processes. At the height of the Brazilian coffee economy in the nineteenth century, the city was a production center, gathering a large number of slaves to whom the creation of many musical styles is credited. Meanwhile the agents of the present groups do not necessarily descended from those slaves nor belong to any culturally isolated traditional community. Performing a musical legacy credited to those slaves, these groups - Urucungos, Puítas e Quijêngues, Casa de Cultura Tainã, Jongo Dito Ribeiro and Maracatucá - bring up a question: why would "nontraditional" groups be interested in the so-called traditional repertoires, selecting, researching and recreating their performances? Considering other possible answers, I argue that the performances of these groups engender the intentional incorporation of a "black memory" through their music, thus leading their participants to regain control over their bodies. We use this expression, "black memory", when we don't want to recognize past events that could embarrass us if disclosed. Ambiguously this term also encompasses everything that relates to the memory of the slaves from Campinas in the nineteenth century. Denied by an essentially white city that holds a modernized urban scenery, this memory flourishes from the hairs, clothes, culture, dance and memory of black citizens who redress the black skin through their performances. Empowered by this cultural legacy they revolve the ashes of oblivion, and oppose to the exclusion processes by joining a larger history and memory, thus disclosing a tragic past that shall never be forgotten
Doutorado
Fundamentos Teoricos
Doutor em Música
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Seaton, Melynda. "Texas Cowboy as Myth: Visual Representations from the Late Twentieth Century." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5599/.
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The working cowboy remains part of the contemporary culture of Texas. A visual record of him appeared early in the state's history, in daguerreotypes, followed by representations in contemporary black and white as well as color photographs, film and video. Although the way of life for the Texas cowboy has changed, it remains a thriving part of the Texas economy, society, and culture. Moreover, the image of the cowboy has permeated popular culture and fine art. This paper explores what late twentieth century popular culture and fine art images of the cowboy signify, emphasizing aspects of how they signify in relation to an existing tradition of photographic representations. Using Barthes' "Myth Today," it considers how the documentary aspect of early photographic representations of cowboys is transformed in contemporary popular culture and fine art to become mythology, for example, by the exaggeration of features of dress to connote ideals allegorically.
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Dauterive, Jessica A. "Picturing the Cajun Revival: Swallow Records, Album Art, and Marketing an Identity of South Louisiana, 1960s-1970s." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2138.
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In South Louisiana in the late 1950s, Ville Platte native Floyd Soileau joined a network of independent recording companies across the United States that provided an opportunity for local entrepreneurs and artists to profit from the global music industry. This paper analyzes the album covers of Floyd Soileau’s Cajun recording label, Swallow Records, during the 1960s-1970s. This period overlaps with a movement to subvert a negative regional identity among Louisiana Cajuns that is often referred to as the Cajun revival. Through a consideration of album covers as objects of business strategy and creative expression, as well as oral histories with individuals who worked with Swallow Records, this paper argues that Floyd Soileau shaped the perception of Cajun music and people through the channels of the global music industry. On the album covers of Swallow Records, Floyd Soileau marketed a Cajun identity that was rural, white, masculine, and French-speaking, and became an accidental facilitator of the social and political goals of leaders in the Cajun revival.
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Ash, Mary. "Integration in the teaching of the arts : a study of the role of metaphor across four forms - music, movement, poetry and visual art." Thesis, Institute of Education (University of London), 1986. http://eprints.ioe.ac.uk/6537/.
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Bergamini, Fabio 1975. "Márcio Bahia e a "Escola do Jabour"." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285223.
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Orientador: Fernando Augusto de Almeida HashimotoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Este trabalho visa investigar a performance musical do músico Márcio Villa Bahia, focando o período de 1981 a 1993, quando este passou a integrar o grupo do músico Hermeto Pascoal. A partir das entrevistas, transcrições e análises de trechos dos cinco discos gravados nesse período, procuramos identificar as principais características e peculiaridades nas performances de Márcio Bahia dentro desse contexto. Durante esse período de doze anos, Márcio Bahia teve uma intensa convivência com Hermeto e seu grupo ¿ formado por Jovino Santos, Carlos Malta, Itiberê Zwarg e Pernambuco ¿ numa intensa "jornada" de experimentações, ensaios, shows e estudos musicais. Essa espécie de "laboratório" musical foi chamada por Hermeto e pelos próprios integrantes do grupo de "Escola do Jabour"
Abstract: This work aims to investigate the musical performance of the musician Márcio Bahia Villa, focusing on the period from 1981 to 1993 when he joined the ensemble of the musician Hermeto Pascoal. We tried to identify the main features and peculiarities in his performances within the group by interviews, analysis of transcripts and excerpts of the five albums recorded by the group during this period. Márcio Bahia had an intense relationship over twelve years with Hermeto and his group ¿ formed by Jovino Santos, Carlos Malta, Itiberê Zwarg and Pernambuco ¿ in an intense "journey" of trials, rehearsals, shows and musical studies. This kind of musical "laboratory" was called by Hermeto and by the members of the group "School of Jabour"
Mestrado
Praticas Interpretativas
Mestre em Música