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Dissertations / Theses on the topic 'Popular music – social aspects – california'

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Published: 25 July 2024

Last updated: 31 July 2025

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1

Gautier, Alba. "Producing a popular music : the emergence and development of rap as an industry." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.

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In this thesis, I trace the evolution of the rap market from its emergence in 1979 in New York City to its development into a national industry in 1990. I analyze the motivations of the producers of rap and the mechanisms that led to their current organization. Independent labels were the primary producers of rap records until they made distribution deals with major record companies in the second half of the eighties. I argue that the division of labor between production and distribution, which became the most common context for the production of the music, is both the result of an orga

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2

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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3

Polychronakis, Ioannis. "Song odyssey : negotiating identities in Greek popular music." Thesis, University of Oxford, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669839.

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4

Straw, Will 1954. "Popular music as cultural commodity : the American recorded music industries 1976-1985." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=39241.

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This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the sa

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5

Moore, Christopher Lee. "Music in France and the Popular front (1934-1938) : politics, aesthetics and reception." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102813.

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The French Popular Front was a coalition of left-wing political parties (Communists, Socialists, and Radicals) united through a common desire to combat fascism and improve the living conditions of France's workers. Between 1935 and 1938, the ideology of the Popular Front, largely informed by that of the Parti Communiste Francais (PCF), exerted tremendous influence on the cultural life of the French nation. Many cultural and musical organizations heeded the Popular Front's call for broad-based anti-fascist solidarity among intellectuals, artists, and the working class. In the realm of culture,

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6

Man, Oi-kuen Ivy. "Cantonese popular song in Hong Kong in the 1970s: an examination of musical content and social context inselected case studies." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31221476.

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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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8

Jeppie, Shamil. "Aspects of popular culture and class expression in inner Cape Town, circa 1939-1959." Thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/24109.

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9

CHINCOLI, Veronica. "Black North American and Caribbean music in European metropolises : a transnational perspective of Paris and London music scenes (1920s-1950s)." Doctoral thesis, European University Institute, 2019. http://hdl.handle.net/1814/62230.

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Defence date: 15 April 2019<br>Examining Board: Professor Stéphane Van Damme, European University Institute; Professor Laura Downs, European University Institute; Professor Catherine Tackley, University of Liverpool; Professor Pap Ndiaye, SciencesPo<br>This thesis examines black music circulation in the urban spaces of London and Paris. It shows the complexity of the evolutionary processes of black musical genres, which occurred during the late imperial period (1920s-1950s) within the urban music scenes of two imperial metropolises, and how they played an important role on the entertainmen

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Gitonga, Priscilla Nyawira. "Music as social discourse : the contribution of popular music to the awareness and prevention of HIV/AIDS in Nairobi, Kenya." Thesis, Nelson Mandela Metropolitan University, 2009. http://hdl.handle.net/10948/962.

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This dissertation is a critical, theoretical study focussing is on the contribution that popular music makes towards raising awareness and promoting the prevention of HIV/Aids in Nairobi, Kenya. Towards this end, an analysis of the lyrics and musical gestures of four Kenyan pop music songs is undertaken in order to highlight their communicative capabilities in this regard. These songs, namely, are Lulumbe by Wasike wa Musungu, Juala by Circute and Jo-el, Vuta Pumz by The Longombas, and Dunia Mbaya Chunguze by Princess Jully. The context in which these musical analyses occur is provided in: - A

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11

Demeuldre, Michel. "Le changement musical: étude transculturelle de trois siècles de changements dans la musique et la danse en milieu urbain." Doctoral thesis, Universite Libre de Bruxelles, 1991. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/213065.

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12

Van, Rensburg Adriana Janse. "Songwriting in adolescence : an ethnographic study in the Western Cape." Thesis, Stellenbosch : Stellenbosch University, 2004. http://hdl.handle.net/10019.1/20901.

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Thesis (D. Phil.)--University of Stellenbosch, 2004.<br>ENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of adolescent songwriting phenomenologically to ascertain the implications for music education. Secondary aims and research questions include ascertaining if and to what extent songwriting in adolescence serves as medium for emotional expression, self-therapy, socio-cultural cohesion and informal learning. Other secondary research aims are establishing the quality of the creative product and determining the implications for music education curr

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13

Drewett, Michael. "An analysis of the censorship of popular music within the context of cultural struggle in South Africa during the 1980s." Thesis, Rhodes University, 2004. http://hdl.handle.net/10962/d1007098.

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The censorship of popular music in South Africa during the 1980s severely affected South African musicians. The apartheid government was directly involved in centralized state censorship by means of the Directorate of Publications, while the South African Broadcasting Corporation exercised government censorship at the level of airplay. Others who assisted state censorship included religious and cultural interest groups. State censorship in turn put pressure on record companies, musicians and others to practice self-censorship. Many musicians who overtly sang about taboo topics or who used cont

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Ball, Rebecca Elizabeth. "Portland's Independent Music Scene: The Formation of Community Identities and Alternative Urban Cultural Landscapes." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/126.

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Portland has a rich, active, and fluid music culture which is constantly being (re)created and (re)defined by a loose network of local musicians who write, record, produce, promote, distribute, and perform their music locally (and sometimes regionally, nationally, and internationally) and local residents, or audiences, who engage in local musical practices. Independent ("indie") local music making in Portland, which is embedded in DIY (do it yourself) values, creates alternative cultural places and landscapes in the city and is one medium through which some people represent themselves in the c

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Cummings, Joanne. "Sold out ! : an ethnographic study of Australian indie music festivals." Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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The focus of this sociological research is on the five most popular and commercially successful Australian indie music festivals: Livid, Big Day Out, the Falls festival, Homebake, and Splendour in the Grass. The three key features of Australian indie music festivals are, firstly, that they are multi-staged ticketed outdoor events, with clearly defined yet temporal boundaries. Secondly, the festivals have a youth-orientated focus yet are open to all ages. Finally, the festivals are primarily dominated by indie-guitar culture and music. My aim is to investigate how these music festivals are able

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Montano, Edward James. "DJs, clubs and vinyl the cultural commodification and operational logics of contemporary commercial dance music in Sydney /." Phd thesis, Australia : Macquarie University, 2007. http://hdl.handle.net/1959.14/19792.

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Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2007.<br>Bibliography: p. 291-313.<br>Introduction -- "Back to this subculture thing": literature review and methodology -- "The crowd went berserk": dance music and club culture in Sydney and Australia -- "Once you find a groove you've got to keep it locked": the role and significance of the DJ -- "There's a great myth about that": DJ culture in Sydney -- "You're not a real DJ unless you play vinyl": technology and formats: the progression of dance music and DJ culture -- "What is underground

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Li, Cheuk-yin, and 李卓賢. "Exploring the productiveness of fans: a studyof Ho Denise Wan See (HOCC) Fandom." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B4587122X.

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18

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 prod

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19

Ballico, Christina. "Bury me deep in isolation: A cultural examination of a peripheral music industry and scene." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2013. https://ro.ecu.edu.au/theses/682.

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Since 1998, Perth bands have had a strong presence within the Australian music scene. Primarily, each year between 1998 and 2009, songs by indie pop/rock acts from Perth have charted within national broadcaster triple j’s Hottest 100 countdown. Many of the albums from which these songs have been taken have sold in excess of 35,000 copies, and a number of successful and recognised Perth bands have toured with the nation’s largest music festival, the Big Day Out as well as their own high profile national tours. At the same time, Perth’s local indie pop/rock music industry has undergone tremendou

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Cannon, Bryan. "Notes, Phrases, and Clauses: An Examination of Identity in Music Focused Conversation." TopSCHOLAR®, 2013. http://digitalcommons.wku.edu/theses/1269.

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Music is everywhere. From formal occasions to a person’s morning run. Music is available on cell phones, computers, in religious ceremonies, at concerts and venues. Music is seen by society to be important and a person’s choice of music can be used to present an identity. The question considered in this article is how people talk about music and how they present identity through their discussion. The current study examines eight focus groups of three actors instructed to simply talk about music. The discussions were recorded and analyzed in a conversation analytic style to identify the structu

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21

Hopkins, Susan. "Pop heroines and female icons : youthful femininity and popular culture." Thesis, Queensland University of Technology, 1999.

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The thesis suggests much feminist theorising on girls' and young women's relationship to popular culture is limited by a 'moral-political' approach which searches for moral and political problems and solutions in the consumption of popular images of femininity. The thesis offers a critique of such 'moral-political' interpretations of the relationship between youthful femininity and popular culture. Following thinkers such as Friedrich Nietzsche and Jean Baudrillard, the thesis opposes the political preoccupation with 'reality' and 'truth'. The study follows Nietzsche's and Baudrillard's noti

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Campbell, Christopher Darnell. "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2130.

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23

Lively, Beth. "Mediated depictions of child physical abuse : a narrative analysis." Virtual Press, 1993. http://liblink.bsu.edu/uhtbin/catkey/864925.

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In recent years, the media have publicized the social problem of physical child abuse. This study examined three artifacts of physical abuse: the children's book Robin's Story, the popular song "Luka," and the television documentary Scared Silent: Exposing and Ending Child Abuse. Chapter One described each artifact and provided a literature review which detailed the writings about physical child abuse and artifacts discussing this topic. The chapter then posed research questions about how the artifacts viewed abused children and their abusers, the causes of abuse, and the solutions proposed fo

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Sunega, Fernanda Alves. "Bem vindos a zero dezenove : uma etnografia da radio bandeira FM e do programa de rap interior paulista." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279290.

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Orientador: Rita de Cassia Lahoz Morelli<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas<br>Made available in DSpace on 2018-08-10T15:23:19Z (GMT). No. of bitstreams: 1 Sunega_FernandaAlves_M.pdf: 1198744 bytes, checksum: 05e2319aaf71dd5f21e0a9447eade0c0 (MD5) Previous issue date: 2008<br>Resumo: De acordo com Néstor Garcia Canclini, em ¿Cidades e cidadãos imaginados pelos meios de comunicação¿, a sociedade está submetida a uma ¿urbanização que desurbaniza¿, onde os meios de comunicação atuam de maneira a criar vínculos entre os bairro

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Mangin, Timothy. "Mbalax: Cosmopolitanism in Senegalese Urban Popular Music." Thesis, 2013. https://doi.org/10.7916/D85X2H4N.

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This dissertation is an ethnographic and historical examination of Senegalese modern identity and cosmopolitanism through urban dance music. My central argument is that local popular culture thrives not in spite of transnational influences and processes, but as a result of a Senegalese cosmopolitanism that has long valued the borrowing and integration of foreign ideas, cultural practices, and material culture into local lifeways. My research focuses on the articulation of cosmopolitanism through mbalax, an urban dance music distinct to Senegal and valued by musicians and fans for its ability t

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Higgins, Nicholas Andreas. "Confusion in the Karnatic Capital: Fusion in Chennai, India." Thesis, 2013. https://doi.org/10.7916/D8B56RXB.

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This dissertation examines how a contested musical practice makes the problems of modernity in India audible. In particular, I look at the relationship between South Indian "fusion" musicians and India's recent economic and cultural growth attributed to the economic reforms of 1991. Fusion is the local name for a musical practice that combines South Indian classical music with elements from rock, jazz, and world music. During thirteen months of ethnographic fieldwork carried out in the South Indian city of Chennai between 2006-8, I attended countless concerts, interviewed dozens of people invo

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27

Calle, Simón. "Reinterpreting the Global, Rearticulating the Local: Nueva Música Colombiana, Networks, Circulation, and Affect." Thesis, 2012. https://doi.org/10.7916/D893117S.

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This dissertation analyses identity formation through music among contemporary Colombian musicians. The work focuses on the emergence of musical fusions in Bogotá, which participant musicians and Colombian media have called "nueva música Colombiana" (new Colombian music). The term describes the work of bands that assimilate and transform North-American music genres such as jazz, rock, and hip-hop, and blend them with music historically associated with Afro-Colombian communities such as cumbia and currulao, to produce several popular and experimental musical styles. In the last decade, these ne

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Barr, Adrian B. "The transcendent experience in experimental popular music performance." Thesis, 2012. http://handle.uws.edu.au:8081/1959.7/538215.

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This thesis is an investigation into experiences of transcendence in music performance driven by the author’s own performance practice and the experimental popular music environment in which he is situated. Employing a phenomenological approach, 19 interviews were conducted with musicians, both locally and internationally, who were considered strong influences on the author’s own practice. The interviews focused on transcendent experiences in music performance and provided rich texts for analysis and comparison with existing models of transcendent experience. The main areas investigated are ho

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Garland, Shannon. "Music, Affect, Labor, and Value: Late Capitalism and the (Mis)Productions of Indie Music in Chile and Brazil." Thesis, 2014. https://doi.org/10.7916/D8WS8RSG.

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This dissertation traces the tensions surrounding indie music production in Santiago, Chile and Sao Paulo, Brazil. I conducted several years of ethnographic research on locally situated, yet transnationally interpolated, musical production, circulation and listening practices in Santiago and Sao Paulo. I open by detailing the expansion of the indie touring market from the global north into both cities, theorizing the enlistment of affect as a neoliberal technique for producing monetary value. The next chapter considers spaces for musical association as forms of infrastructure that both emerge

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Karl, Brian. "Across a Divide: Mediations of Popular Music in Contemporary Morocco and Spain." Thesis, 2012. https://doi.org/10.7916/D8F769MJ.

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This dissertation is about the mediation of cross-cultural difference among Moroccan and Spanish musical practitioners. It is based on the idea that negotiations across the gaps of such difference have been promoted through the increased circulation of people, products and ideas in the modern era. Based on fieldwork during the years 2003-2007, primarily in the urban sites of Granada, Spain and Fez, Morocco, the project focuses on popular music, how both the production and reception of music are critically bound up with notions of genre, how resulting associations of musical practice are affect

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Robertson, Mary. "Claiming sounds, constructing selves : the racial and social imaginaries of South African popular music." Thesis, 2005. http://hdl.handle.net/10413/5112.

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This thesis explores some of the ways in which listening to South African popular music allows individuals to enter into imaginative engagements with others in South Africa, and in so doing, negotiate their place in the social landscape. Taking as its starting point the notion of the "musical imaginary" - the web of connotational meanings arising out of the interaction between music and society, rendering it a particularly suitable medium through which to imagine social actors - it focuses specifically on the role of music in constructions of 'race' and, to a lesser extent, of 'nation'. It exa

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Belkind, Nili. "Music in Conflict: Palestine, Israel and the Politics of Aesthetic Production." Thesis, 2014. https://doi.org/10.7916/D8QN64WP.

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This is an ethnographic study of the fraught and complex cultural politics of music making in Palestine-Israel in the context of the post-Oslo era. I examine the politics of sound and the ways in which music making and attached discourses reflect and constitute identities, and also, contextualize political action. Ethical and aesthetic positions that shape contemporary artistic production in Israel-Palestine are informed by profound imbalances of power between the State (Israel), the stateless (Palestinians of the occupied Palestinian territories), the complex positioning of Israel's Palestini

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Gonzalez, Melissa. ""Cien por Ciento Nacional!" Panamanian Música Típica and the Quest for National and Territorial Sovereignty." Thesis, 2015. https://doi.org/10.7916/D8319TTD.

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This dissertation investigates the socio-cultural and musical transfigurations of a rural-identified musical genre known as música típica as it engages with the dynamics of Panama's rural-urban divide and the country's nascent engagement with the global political economy. Though regarded as emblematic of Panama's national folklore, música típica is also the basis for the country's principal and most commercially successful popular music style known by the same name. The primary concern of this project is to examine how and why this particular genre continues to undergo simultaneous processes

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Scales, Christopher Alton. "First Nations popular music in Canada : identity, politics and musical meaning." Thesis, 1996. http://hdl.handle.net/2429/4433.

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In this thesis, First Nations popular music is examined as a polysemic sign (or symbolic form) whose meaning is mediated both socially and politically. Native popular music is a locus for the action of different social forces which interact in negotiating the nature and the meaning of the music. Music is socially meaningful in that it provides a means by which people construct and recognize social and cultural identities. As such, First Nations popular music functions as an emblem of symbolic differentiation between Canadian natives and non-natives. Native pop music plays host to a num

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"Rock music and hegemony in China." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5887223.

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by Wong Yan Chau, Christina.<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.<br>Includes bibliographical references (leaves 175-186).<br>Chapter I. --- Introduction --- p.2<br>Chapter II. --- Historical Background --- p.5<br>Chapter III. --- A Review of the Related Literature --- p.14<br>Chapter A. --- The Culture Industry Approach --- p.15<br>Chapter B. --- The Liberal-Pluralist Approach --- p.26<br>Chapter C. --- The Technological Approach --- p.31<br>Chapter IV. --- The Theoretical Perspective --- p.36<br>Chapter V. --- Methodological Approach to Study --- p.42<br>Chapte

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Heidemann, Kathryn. "Hearing Women's Voices in Popular Song: Analyzing Sound and Identity in Country and Soul." Thesis, 2014. https://doi.org/10.7916/D8QF8R22.

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In this study I combine music analysis with critical theory to investigate how different conceptions of feminine identity--intersecting with race and class--are materialized through recorded sound. I present interpretive analyses of four popular songs recorded and released between 1967 and 1974: "Baby, I Love You" by Aretha Franklin, "Fist City" by Loretta Lynn, "If I Were Your Woman" by Gladys Knight and the Pips, and "Jolene" by Dolly Parton. My analyses focus on vocal performance, and vocal quality (or timbre) in particular, as I investigate the means by which the sounds of these recordings

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Kvetko, Peter James. "Indipop producing global sounds and local meanings in Bombay /." Thesis, 2005. http://repositories.lib.utexas.edu/bitstream/handle/2152/1761/kvetkop43407.pdf.

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Millington, Aliese. "Subject to change: nine constructions of the crossover between Western art and popular musics (1995-2005)." Thesis, 2008. http://hdl.handle.net/2440/48832.

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Exchange between musical cultures has always occurred, but in the age of the global music industry, marketing categories have multiplied and often created boundaries between musics. Today the term “crossover” is attached to many of the musical exchanges that occur across these boundaries. One such exchange is represented by the intersection between Western art music string instruments and popular musics. A well-known commercial niche, this particular crossover is often discussed in popular media, but has been examined by relatively few music scholars. By way of addressing this gap, this study

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Millington, Aliese. "Subject to change: nine constructions of the crossover between Western art and popular musics (1995-2005)." 2008. http://hdl.handle.net/2440/48832.

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Exchange between musical cultures has always occurred, but in the age of the global music industry, marketing categories have multiplied and often created boundaries between musics. Today the term “crossover” is attached to many of the musical exchanges that occur across these boundaries. One such exchange is represented by the intersection between Western art music string instruments and popular musics. A well-known commercial niche, this particular crossover is often discussed in popular media, but has been examined by relatively few music scholars. By way of addressing this gap, this study

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Khotso, P. "Masculinity as a popular theme in the development of Basotho accordion music." Thesis, 2017. http://hdl.handle.net/10500/24534.

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Text in English and some in Sesotho<br>This thesis examined how masculinity develops among the Basotho accordion music artists of the period 1980-2015 with an intention to propose the reshaping of masculinity conducive for a human society. Different factors that influence masculinity among the Basotho as represented by Basotho accordion music artists are scrutinized to find out how masculinity as a thematic aspect in the development of Basotho accordion music has been manifested over a period of thirty-five years. Psycho-masculinity is employed in the present study to find out the impact of th

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Foster, Lisa Renee. "Music, publics, and protest: the cultivation of democratic nationalism in post-9/11 America." Thesis, 2006. http://hdl.handle.net/2152/2688.

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Smurthwaite, Michael. "Two commercial music radio stations and their use of Twitter." Thesis, 2016. http://hdl.handle.net/10539/21993.

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A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements for the degree of Master of Arts (Journalism and Media Studies), 2016<br>This research report is an exploratory study into two regional commercial music stations (YFM and 947) and their use of Twitter as a tool to relate to, interact with and enable participation from their audiences. Of particular interest was why they are using it, what they are doing with it and how this affects the on-air content pre, during and post broadcast, if at all it does. [Abbre

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Cummings, Joanne, University of Western Sydney, College of Arts, and School of Social Sciences. "Sold out ! : an ethnographic study of Australian indie music festivals." 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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The focus of this sociological research is on the five most popular and commercially successful Australian indie music festivals: Livid, Big Day Out, the Falls festival, Homebake, and Splendour in the Grass. The three key features of Australian indie music festivals are, firstly, that they are multi-staged ticketed outdoor events, with clearly defined yet temporal boundaries. Secondly, the festivals have a youth-orientated focus yet are open to all ages. Finally, the festivals are primarily dominated by indie-guitar culture and music. My aim is to investigate how these music festivals are able

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Da, Silva Daniel. "Trans Tessituras: Confounding, Unbearable, and Black Transgender Voices in Luso-Afro-Brazilian Popular Music." Thesis, 2019. https://doi.org/10.7916/d8-xkxt-eg63.

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This dissertation shows how gay, trans and queer performers in Brazil, Portugal, and Angola, working in traditionally misogynistic, homo- and transphobic popular music genres, have successfully claimed and refigured those genres and repertoires through iterations of transgender voices and bodies. I show how Pabllo Vittar, Fado Bicha and Titica refigure normative gendered conventions of sex and song through trans formations of popular music genres. I locate them within a genealogy of queer Luso-Afro-Brazilian popular music practices and performances that deploy trans formations of voice, body,

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Mudzanire, Benjamin. "An interrogation of the context referentiality of postcolonial Shona popular music in Zimbabwe : a search for the contemporary leitmotifs." Thesis, 2016. http://hdl.handle.net/10500/22600.

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The study interrogates the context reflectivity of postcolonial Shona popular music in Zimbabwe. It also explores the extent to which the legal environment in which the same music is produced, disseminated and consumed affects expressivity and artistic precision. The study is inspired by the New Historicism theory which assumes that every work of art is a product of the historical moment that created it and can be identified with the cultural and political movements of the time. The same is believed of popular music. The study is also beholden to the Marxist literary tradition for its assessme

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Baldridge, Christopher M. "Modern music and cultural identity in Corsica." Thesis, 2004. http://hdl.handle.net/1957/32137.

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Music is one of the most important aspects of cultural identity in Corsica. Rooted in ancient history and revitalized in the revolutionary political climate of the 1960s and 70s, its popular choral form--the paghjella--has come to define modern music upon the island. Music, like language, has the ability to communicate certain feelings and values beyond its structural form and can also serve as a marker for individual as well as collective identity. In a minority regional context such as that of Corsica, many view cultural expressions such as language and music as 'guardians' of a local tradit

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Strong, Catherine Louise. "'As a friend, as a trend, as an old memory' : popular music, memory and power." Phd thesis, 2008. http://hdl.handle.net/1885/151742.

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This thesis examines the relationship between memory and popular music. In order to make a claim for the validity of the field, popular music studies have often focused on the political and oppositional qualities of such music. It is argued in the thesis that although a form of popular culture such as grunge presents challenges to existing power relations, these challenges are often defused in the way grunge is remembered by the majority of fans. This is demonstrated through the examination of how collective memories are formed through the media, especially in dispersed groups, in contemporary

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"The karaoke boxes and youth in Hong Kong (1997-2007)." 2011. http://library.cuhk.edu.hk/record=b5894699.

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Tang, Cheuk Pan.<br>"December 2010."<br>Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.<br>Includes bibliographical references (leaves 95-101).<br>Abstracts in English and Chinese; some appendixes includes Chinese.<br>Abstract --- p.i<br>Abstract (Chinese Translation) --- p.ii<br>Acknowledgements --- p.iii<br>Contents --- p.iv<br>Chapter Chapter One --- Introduction --- p.1<br>Chapter 1 --- Background and Issues --- p.1<br>Chapter 1.1 --- Karaoke-A Big Business<br>Chapter 1.2 --- Karaoke's Significance within the Community<br>Chapter 2 --- Literature Review --- p.6<br>Chapte

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Hodges, Benjamin Kidder 1977. "Special affect : special effects, sensation, and pop in post-socialist Bulgaria." 2006. http://hdl.handle.net/2152/13002.

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Khan, Khatija Bibi. "Post 9/11 constructions of Muslim identities in American black popular music." Thesis, 2010. http://hdl.handle.net/10500/3606.

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The aim of this study was to critically explore the constructions of Muslim identities in selected Black African American popular music composed before and after the 11th of September 2001. This study is interdisciplinary because it used popular culture theories developed by Hall, Strinati, Storey and Gilroy’s concept of the Black Atlantic. Postcolonial literary theories of Bhabha, Spivak and Fanon were also used. The study demonstrated that the content and style of the lyrics by Public Enemy, Talib Kweli, Paris, Lupe Fiasco, Kanye West, Scarface, Miss Eliot, Missundastood, Erykah Badu and KRS

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