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Dissertations / Theses on the topic 'Popular music'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Nott, James. "Popular music and the popular music industry in interwar Britain." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.324242.

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2

Ross, Gordon. "Popular music analysis." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/MQ65051.pdf.

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3

Wise, Timothy Elbert. "Yodelling in American popular music." Thesis, University of Liverpool, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428246.

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This is a study of yodelling as a musical and cultural signifier. A definition of yodelling and a typology useful for the description of the various yodel phenomena heard in English-language popular music are proposed. Yodelling is then considered in a chronological sequence, beginning with abstract yodel signs in European instrumental classical music where these tended to signify pastoralism, idealism, and other ideas relating to romantic conceptions of the self. A discussion of yodelling in light classical and popular music through the nineteenth century follows. The differing ideologies ass

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4

Man, Oi-kuen Ivy. "Cantonese popular song in Hong Kong in the 1970s : an examination of musical content and social context in selected case studies /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B20566013.

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5

Wong, Chi-chung Elvin. "Making and using pop music in Hong Kong /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18736439.

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6

Huang, Chun-Ming. "Mediated music, mediated nations : Taiwanese popular music in China." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/28985.

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Taiwan’s pop music is enormously popular in China. This study aims to probe the reasons for this success as it has taken place against a backdrop of hostile political relations between the Taiwanese and the Chinese. The study explores the ways in which Chinese people and the Chinese media have negotiated and practised the work of ‘imagined communities’ through the consumption of Taiwan’s pop. It focuses on the cultural-political struggles of Taiwan’s pop in China, its mediation, and consumption as a cultural practice. The study suggests that deliberative mediation and a sociable mediation are

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7

Williams, Zaneh M. "American Influence on Korean Popular Music." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/500.

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South Korea is internationally well known for its ethnic and cultural homogeneity, economic and technical success, and strong sense of nationalism. The peoples of South Korea have flourished economically after a series of colonizations, industrialization and political chaos. Over the past few decades, Korea has gained interest internationally for its entertainment industry through the Korean Wave (or Hallyu in Korean). Korean Wave is a term that refers to the increase in the popularity of South Korean culture since the late 1990’s due to Korean music, television shows and fashion. The Korean W

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8

Lakhani, Ali Moneim. "Popular Music and Adolescent Sexual Health." Thesis, Griffith University, 2016. http://hdl.handle.net/10072/366767.

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Background There is public concern about the impact that exposure to sexual content in music is having on the sexual health of adolescents. In particular, exposure to sexual content in music has been identified as adversely impacting young people’s behaviour, and attitudes towards gender. In contrast, popular music has also been identified as a culturally appropriate tool to engage young people in sexual health education and promotion programs. By taking a broad definition of sexual health, this dissertation addresses knowledge gaps especially in regards to gender and body image. Consequently,

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9

Stephan-Robinson, Anna. "Form in Paul Simon's music /." Digitized version, 2009. http://hdl.handle.net/1802/11554.

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Thesis (Ph. D)--University of Rochester, 2009.<br>Includes abstract and vita. Includes bibliographical references. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/11554

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10

Gaydos, Thomas Joseph Odo. "Popular Music in the Paterson, New Jersey General Music Classroom." Thesis, The William Paterson University of New Jersey, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10827718.

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<p> This project seeks to discover ways to effectively use popular music in the general music classroom in order to have lessons be more culturally relevant, give students a better understanding of musical concepts, and increase engagement. The research methods for this thesis included review of various articles, a survey (see appendix C), and personal experience as a general music teacher. My research suggested ways for music teachers to use popular music in the general music classroom in order to keep lessons culturally relevant, give students a better understanding of musical concepts, and

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11

Matula, Theodore. "A rhetorical schema for studying popular music." Connect to resource, 1998. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1229692187.

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12

Gilmore, Abigail. "Popular music in the city : an examination of local music scenes, popular music practice and cultural policy in the city of Leicester." Thesis, University of Leicester, 1999. http://hdl.handle.net/2381/30731.

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This thesis examines popular music in the city of Leicester. It looks at local popular music practice through the activities, values and structures of support associated with local music scenes and music industry. It explores the ways in which popular music contributes to city life through the activities of particular groups involved in the production and distribution of music in Leicester. It also considers how local governance structures influence and shape music practice through cultural policy and municipal government and regulation. Using the concepts 'music scene' and 'music community' I

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13

Stahl, Matthew Wheelock. "Reinventing certainties : American popular music and social reproduction /." Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC campuses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3244179.

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14

Harvey, Sandi K. "The analysis of Okinawan popular music and identity in relation to other studies of southeast Asian popular music." Thesis, Wichita State University, 2010. http://hdl.handle.net/10057/3720.

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This research attempts to use the creation of popular music in Okinawa as a symbolic resource to reveal attributes related to the making of identity. Popular music in non-Western societies is a useful unit of analysis that can explain how people respond to cultural change and can tell us much about cultural values. The origin of identity studies is both historical and political by nature. However, socio-cultural functions can further expand our understanding of both cultural and political resistance. Popular music as identity is not static and is always in flux. Identity addresses the ongoing

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15

Ongyod, Anthony. "Popular music and communication in interpersonal relationships." Thesis, University of Hawaii at Manoa, 2003. http://hdl.handle.net/10125/7114.

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This research investigates how people use popular music, particularly wedding songs, to communicate. Participants were gathered at a bridal expo who either "Have a Wedding Song" or have "Witnessed a Wedding Song". Results indicate that people do indeed communicate using music. Interpersonal partners have a wedding song because a wedding song is symbolic, tradition, expresses feelings, important, and romantic. Couples chose a particular song for their wedding because the appointed song expresses the couple's feelings, has sentimental value, is representative of the relationship, has meaningful

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16

Behr, Adam. "Group identity : bands, rock and popular music." Thesis, University of Stirling, 2010. http://hdl.handle.net/1893/3051.

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Since rock became the subject of academic study, its attendant ideology has been scrutinised and its mythical and Romantic components exposed. Largely absent from this account has been a thorough analysis of the phenomenon of the ‘band’. The role of individual acts and the wider contexts in which they worked has been discussed at the expense of an examination of an important form of music-making. This thesis seeks to address that gap. Using a mixture of literary research and ethnography, I present an overall picture of the band as a modus operandum, charting its evolution during the emergence

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17

Lee, Christopher Paul. "Popular music making in Manchester (1950-1995)." Thesis, Manchester Metropolitan University, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336818.

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18

Harper, A. C. "Lo-Fi aesthetics in popular music discourse." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:cc84039c-3d30-484e-84b4-8535ba4a54f8.

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During the late twentieth and early twenty-first centuries, 'lo-fi,' a term suggesting poor sound quality, the opposite of 'hi-fi,' became a characteristic perceived in certain popular-music recordings and eventually emerged as a category within independent or 'indie' popular music. It is typically taken to express the technical and technological deficiencies associated with amateur or 'DIY' musical production, namely at home using cheap recording equipment. However, this thesis rejects the assumption that lo-fi equates to a mode of production and charts it as a construction and a certain aest

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19

Crozier, Hugh Ian. "Structures of meaning : popular music and society." Thesis, Goldsmiths College (University of London), 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.336392.

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20

Bochanty-Aguero, Erica Jean. "Music that moves television music, industrial travel, and consumer agency in contemporary media culture /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1851096631&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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21

Ossorio-Bermudez, Julissa. "Unveiling popular music? : a study of how Muslim girls in Belfast negotiate gender and religion through popular music listening." Thesis, Queen's University Belfast, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.558177.

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Music within Islam has been a subject of dispute for centuries. Some believe that music is haram, or totally prohibited. Others believe that depending on its context and lyrics, it may be halal, or allowed. Gender plays an important role in this discussion, as sometimes concepts of femininity transmitted through Western popular music may go against particular Muslim ideals. Inspired by this debate, this thesis is an ethnographic analysis of a sixteen-month fieldwork experience that took place in Belfast, Northern Ireland, in which I explored how young Muslim females living in this city constru

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22

Kajikawa, Loren Yukio. "Centering the margins black music and American culture, 1980-2000 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1930277371&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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23

Yuan, Xiaorong. "Chinese Minority Popular Music: A Case Study of Shanren, a Contemporary Popular Band." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461073565.

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24

Bennett, James Andrew. "Popular styles, local interpretations : rethinking the sociology of youth culture and popular music." Thesis, Durham University, 1996. http://etheses.dur.ac.uk/1570/.

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25

Green, Ben. "Peak music experiences: A new perspective on popular music, identity and scenes." Thesis, Griffith University, 2017. http://hdl.handle.net/10072/372598.

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Peak music experiences are those experiences involving music that stand out as especially affecting, meaningful and memorable for the individuals involved. They are a common topic in discussions of popular music, including in journalism, biography and fan culture, where they are often credited as pivotal in people’s relationships with music and their lives more generally. Examples of peak music experiences are apparent in some previous scholarly studies of popular music cultures, however, this is the first dedicated investigation of the phenomenon. By analysing this way of thinking and talking

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26

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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27

Nunes, Pedro. "Popular music and the public sphere : the case of Portuguese music journalism." Thesis, University of Stirling, 2004. http://hdl.handle.net/1893/24.

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Music journalism has been acknowledged as an important space of mediation between artists and consumers. Journalists and critics have played an historical role in the creation of discourse on popular music and are acknowledged by the music industry as an important referent in promotion strategies. Research on the subject has been mostly focused either on the relationship between music journalism and the wider music industry in which it operates or on its status as a field of cultural production. Little consideration has been given to the role played by music journalists in articulating popular

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28

Rivel, Charley. "Wagakki and Japanese Popular Music: The Perception of Music and Cultural Identity." Thesis, Stockholms universitet, Institutionen för Asien-, Mellanöstern- och Turkietstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-193443.

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This study focuses on the connection between cultural identity and Japanese popular music. It contains conducted interviews and semantic analyses on musicians who use Japanese traditional instruments and Western instruments in their repertoire. It uses performativity theory as theoretical framework. The analyses are divided in to the three levels of Sauter’s phenomenological path: the symbolic level, the sensory level and the artistic level. It concludes how musicians in Japan perceive their own musical identity, and gives insights on the role of cultural identity in Japanese music. The poten

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29

Ensign, Jeffrey S. "Form in Popular Song, 1990-2009." Thesis, University of North Texas, 2015. https://digital.library.unt.edu/ark:/67531/metadc822808/.

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Through an examination of 402 songs that charted in the top 20 of the Billboard year-end charts between the years 1990 and 2009, this dissertation builds upon previous research in form of popular song by addressing the following questions: 1) How might formal sections be identified through melody, harmony, rhythm, instrumentation, and text? 2) How do these sections function and relate to one another and to the song as a whole? 3) How do these sections, and the resulting formal structures, relate to what has been described by previous theorists as normative? 4) What new norms and trends can be

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30

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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31

Attas, Robin Elizabeth Sturton. "Meter as process in groove-based popular music." Thesis, University of British Columbia, 2011. http://hdl.handle.net/2429/33822.

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The various genres of North American popular music developed since the 1950s are distinctive for their use of short repeating accompanimental patterns called grooves. Such groove-based popular music often includes many distinctive metrical features that cannot be reflected in standard hierarchical representations of metric structure, such as polyphonic textures, anacrusis, and syncopation. As a result, one crucial aspect of an important modern musical practice has been analytically underappreciated. The processual theory of meter developed by Christopher Hasty offers an alternative analytical

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32

Walker, Seth. "Musical Spirituality: The Transformative Power of Popular Music." Honors in the Major Thesis, University of Central Florida, 2007. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/1050.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.<br>Bachelors<br>Arts and Humanities<br>Humanities

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33

Dowsett, Andrew Christopher. "Theology in discography : the Bible in popular music." Thesis, University of Sheffield, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.301265.

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34

Gammon, V. A. F. "Popular music in rural society : Sussex 1815-1914." Thesis, University of Sussex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.370433.

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35

DiGiallonardo, Richard L. (Richard Lee). "Musical Borrowing: Referential Treatment in American Popular Music." Thesis, University of North Texas, 1998. https://digital.library.unt.edu/ark:/67531/metadc277911/.

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This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advanceme

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36

Robins, Jeremy M. "Phrase Structure, Hypermeter, and Closure in Popular Music." Thesis, The Florida State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10262010.

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<p> Phrases in common-practice music are traditionally defined by harmonic processes, particularly goal-directed progressions to tonic. In popular music, however, harmonic motion toward a tonic is not always present, making traditional approaches to phrase segmentation problematic. The goal of this dissertation is to provide a systematic methodology for addressing phrase segmentation and closure in popular music, particularly in the absence of goal-directed harmonic motion. Additionally, I aim for simplicity of application and consistency of results. </p><p> Because contemporary popular musi

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37

Padua, Daniel A. "The Family 'Playlist': Popular music, age and identity." Thesis, Queensland University of Technology, 2017. https://eprints.qut.edu.au/110533/1/Daniel_Padua_Thesis.pdf.

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Popular music is central to the understanding of youth culture and has come to represent the so-called 'generation gap'. This thesis, however, argues that popular music is no longer just a signifier of generational tension. It is now an increasingly significant cultural resource that allows parents and their children to establish and maintain family relations. Using interviews from families who are fans of Queen or Taylor Swift, this research investigates how shared practices around popular music consumption contribute to a cohesive family identity.

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38

Holman, Jones Stacy Linn. "Music for torching." Access restricted to users with UT Austin EID Full text (PDF) from UMI/Dissertation Abstracts International, 2001. http://wwwlib.umi.com/cr/utexas/fullcit?p3037501.

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39

Percival, James Mark. "Making music radio : the record industry and popular music production in the UK." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/362.

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Music radio is the most listened to form of radio, and one of the least researched by academic ethnographers. This research project addresses industry structure and agency in an investigation into the relationship between music radio and the record industry in the UK, how that relationship works to produce music radio and to shape the production of popular music. The underlying context for this research is Peterson's production of culture perspective. The research is in three parts: a model of music radio production and consumption, an ethnographic investigation focusing on music radio program

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40

Aitken, Shelagh Elizabeth. "Music and the popular press : music criticism in Paris during the First Empire /." Ann Arbor : UMI, 2000. http://catalogue.bnf.fr/ark:/12148/cb370598311.

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Diss.--Philosophie--Evanston, Ill., 1987.<br>Réunit des articles du Journal des débats, du Journal de Paris, du Journal de l'Empire et du Moniteur universel en français avec la trad. anglaise en regard. Bibliogr. p. 433-444.

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41

McReynolds, Robert Timothy. "The influences of American popular music upon twentieth-century song and chamber music." College Park, Md. : University of Maryland, 2005. http://hdl.handle.net/1903/3088.

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42

Freire, Guilherme Araujo 1987. "Vanguarda, experimentalismo e mercado na trajetória artística de Tom Zé." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285314.

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Orientador: José Roberto Zan<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-27T18:13:44Z (GMT). No. of bitstreams: 1 Freire_GuilhermeAraujo_M.pdf: 3785916 bytes, checksum: 7074b9f4c38144853c89de9e6f856bab (MD5) Previous issue date: 2015<br>Resumo: Este trabalho aborda e problematiza as diferentes fases da carreira artística do compositor e intérprete Tom Zé, situadas entre o lançamento do seu primeiro LP em 1968 e o final da década de 1990. Estabelecendo como foco central sua produção musical, concebida com uma postura

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43

Szemere, Anna. "Pop culture, politics, and social transition /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9820881.

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44

Goldschmitt, Kariann Elaine. "Bossa mundo Brazilian popular music's global transformations (1938-2008) /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1905631301&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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45

Metts, Charles Rodney. "Charting the margins: subversive practices in popular forms /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487849377294712.

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46

Chaly, Maya Ann. "Perspectives on popular music analysis, towards a standarized approach." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0003/MQ46557.pdf.

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47

Breault, Ainsley. "Native noise: Māori popular music and indigenous cultural identity." AUT University, 2010. http://hdl.handle.net/10292/927.

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This thesis argues that Māori popular music, regardless of genre, is a valuable resource in the formulation of a vibrant and relevant Māori rangatahi (youth) identity. Specifically, the research investigates the complex relationship between popular music, social space, and Māori culture and community in Aotearoa. The researcher interviewed six participants from within the Māori music community and practiced participant observation at popular music events. The findings of this qualitative research are framed by an in-depth literature review into questions of Māori identity, as well as an applic

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48

Gamboa, Vera Caisip. "Revolution girl style now, popular music, feminism, and revolution." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ61431.pdf.

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49

Viol, Claus-Ulrich. "Jukebooks: contemporary British fiction, popular music, and cultural value." Heidelberg Winter, 2004. http://deposit.ddb.de/cgi-bin/dokserv?id=2772862&prov=M&dok_var=1&dok_ext=htm.

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50

Maciel, Katia Augusta. "Film, popular music and television : intertextuality in Brazilian cinema." Thesis, University of Southampton, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.494969.

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The thesis examines the effects of the cross-fertilisation between cinematic, musical and televisual texts on depictions of two emblematic Brazilian social space - the favela (shantytown) and the sertão (arid backlands) - in recently released independent and mainstream domestic productions. I argue that through processes of intertextuality recent Brazilian films have gradually transformed the favela into a widely exposed, lucrative but also productively challenging spectacle. Similarly, the iconicity of the sertão has been resignified allowing a new understanding of the region to emerge. My

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