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Berkland, Darren Gary. "Androcentrism and misogyny in late twentieth century rock music." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1021199.
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Judith Butler’s writings on gender ostensibly changed the way gender is considered with regard to an individual’s subjectivity. Her writings expressed a discursive parameter that changed the theoretical standpoint of gender from that of performance, to that of performativity. In short, the notion of gender became understood as a power mechanism operating within society that compels individuals along the heteronormal binary tracts of male or female, man or woman. Within the strata of popular culture, this binarism is seemingly ritualized and repeated, incessantly. This treatise examines how rock music, as a popular and widespread mode of popular music, exemplifies gender binarism through a notable ndrocentrism. The research will examine how gender performativity operates within the taxonomy of rock music, and how the message communicated by rock music becomes translated into a listener’s subjectivity.
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Stahl, Geoff. "Troubling below : rethinking subcultural theory." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0001/MQ43954.pdf.
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Guy, Stephen. "The nature of community in the Newfoundland rock underground /." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=81493.
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Twenty-five years of independent, underground, or punk rock music-making in St. John's, Newfoundland, have been defined by geographic isolation. In tracing a historical record of the small city's punk/indie scene, this project seeks to evaluate recent academic discussion surrounding the role of collectivity in artistic 'independence' and examine the impact of prevailing international aesthetics and changing communication technologies on local practice. The self-containment and self-sufficiency of the St. John's music community, largely the product of the city's isolated position on the extreme eastern tip of a large island off the east coast of North America, provide a unique backdrop against which to foreground a discussion of the distance between indie/punk rhetoric and reality. I contend that 'scene' in popular and academic use refers to the casual aggregation occasioned by similar interest and shared location, while 'community' hints at effort, co-operation and productive support.
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Thompson, Pamela J. "Rock and roll and the counterculture : the search for alternative values and a new spirituality." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59237.
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Both the counterculture and its music will be examined using the concepts of heteronomy, autonomy, and theonomy and their dialectical relationship according to Paul Tillich's theory of religion and culture. The main themes beneath the emergence of the counterculture will be outlined, and the ways in which the dominant culture of the time may be considered what Tillich describes as a heteronomous phenomenon will be presented. The historical significance of the counterculture will then be demonstrated in terms of Tillich's concept of kairos. Through examination of the lyrics of some of the most popular songs between 1965 and 1970, the years during which the movement was at its height, the ways in which the counterculture may be seen as autonomous protest will be discussed. This will be followed by an examination of theonomous elements apparent in the song lyrics and an evaluation of the movement in terms of the Tillichian dialectic.
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Ball, Rebecca Elizabeth. "Portland's Independent Music Scene: The Formation of Community Identities and Alternative Urban Cultural Landscapes." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/126.
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Portland has a rich, active, and fluid music culture which is constantly being (re)created and (re)defined by a loose network of local musicians who write, record, produce, promote, distribute, and perform their music locally (and sometimes regionally, nationally, and internationally) and local residents, or audiences, who engage in local musical practices. Independent ("indie") local music making in Portland, which is embedded in DIY (do it yourself) values, creates alternative cultural places and landscapes in the city and is one medium through which some people represent themselves in the community. These residents not only perform, consume, promote, and distribute local music, they also (re)create places to host musical expressions. They have built alternative and democratic cultural landscapes, or culturescapes, in the city. Involved Portlanders strive to make live music performances accessible and affordable to all people, demonstrating through musical practices that the city is a shared space and represents a diversity of people, thoughts, values, and cultural preferences. Using theoretical tools from critical research about the economic, spatial, and social role of cultures in cities, particularly music, and ethnographic research of the Portland music scene, including participant observations and in-depth interviews with Portland musicians and other involved residents, this research takes a critical approach to examining ways in which manifestations of independent music are democratic cultural experiences that influence the city's cultural identity and are a medium through which a loosely defined group of Portlanders represent their cultural values and right to the city. In particular, it focuses on how local musical practices, especially live performances, (re)create alternative spaces within the city for musical expressions and influence the city's cultural landscapes, as well as differences between DIY independent music in Portland and its commodified forms and musicians and products produced by global music industry.
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Shadrack, Jasmine Hazel. "Denigrata cervorum : interpretive performance autoethnography and female black metal performance." Thesis, University of Northampton, 2017. http://nectar.northampton.ac.uk/9679/.
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I am concerned with the performance of subversive ... narratives ... the performance of possibilities aims to create ... a ... space where unjust systems and processes are identified and interrogated. (Madison 280). If a woman cannot feel comfortable in her own body, she has no home. (Winterson, J; The Guardian 29.03.2013). Black metal is beyond music. It exceeds its function of musical genre. It radiates with its sepulchral fire on every side of culture [...] Black metal is the suffering body that illustrates, in the same spring, all the human darkness as much as its vital impetus. (Lesourd 41-42). Representation matters. Growing up there were only two women in famous metal bands that I would have considered role models; Jo Bench from Bolt Thrower (UK) and Sean Ysseult from White Zombie (US). This lack or under-representation of women in metal was always obvious to me and has stayed with me as I have developed as a metal musician. Women fans that see women musicians on stage, creates a paradigm of connection; that representation means something. Judith Butler states ‘on the one hand, representation serves as the operative term within a political process that seeks to extend visibility and legitimacy to women as political subjects; on the other hand, representation is the normative function of language which is said either to reveal or distort what is assumed to be true about the category of women’ (1). Butler references de Beauvoir, Kristeva, Irigaray, Foucault and Wittig regarding the lack of category of women, that ‘woman does not have a sex’ (Irigaray qtd. in Butler 1) and that ‘strictly speaking, “women” cannot be said to exist’ (Kristeva qtd. in Butler 1). If this is to be understood in relation to my research, my embodied subjectivity as performative text, regardless of its reception suggests that my autoethnographic position acts as a counter to women’s lack of category. If there is a lack of category, then there is something important happening to ‘woman as subject’. This research seeks to analyse ‘woman as subject’ in female black metal performance by using interpretive performance autoethnography and psychoanalysis. As the guitarist and front woman with the black metal band Denigrata, my involvement has meant that the journey to find my home rests within the blackened heart of musical performance. Interpretive performance autoethnography provides the analytical frame that helps identify the ways in which patriarchal modes of address and engagement inform and frame ‘woman as subject’ in female black metal performance.
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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 to strike an apparently paradoxical balance between the creation of a temporal community, or network of festivalgoers, and the commodity of the festivals themselves. My research methodology utilises a postmodern approach to ethnography, which has allowed me to investigate the festivalgoers as an ‘insider researcher.’ Data was collected through a series of participant observations at Australian indie music festivals which included the use of photographs and field notes. In addition I conducted nineteen semi-structured interviews and two focus groups with festivalgoers and festival organisers. The thesis adopts a post-subcultural approach to investigating the festivalgoers as an ideal type of a neo-tribal grouping. Post-subculture theory deals with the dynamic, heterogeneous and fickle nature of contemporary alliances and individuals’ feelings of group ‘in-betweeness’ in late capitalist/ global consumer society. I argue that Maffesoli’s theory of neo-tribalism can shine new light on the relationships between youth, music and style. Music festivals are anchoring places for neo-tribal groupings like the festivalgoers as well as a commercialised event. An analysis of the festivalgoers’ ritual clothing (t-shirts as commodities), leads to the conclusion that the festivalgoers use t-shirts to engage in a process of identification. T-shirts, I argue, are an example of a linking image which creates both a sense of individualism as well as a connection to a collective identity or sociality.
Through a case study of moshing and audience behaviour it is discovered that the festivalgoers develop neo-tribal sociality and identification with each other through their participation in indie music festivals. Although pleasure seems to be the foremost significant dimension of participating in these festivals, the festivalgoers nevertheless appear to have developed an innate sense of togetherness and neo-tribal sociality. The intensity and demanding experience of attending a festival fosters the opportunity for a sense of connectedness and belonging to develop among festivalgoers.
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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 tremendous growth and development, becoming more integrated into this nationally focused industry while also making significant inroads internationally. This research comprises 40 in-depth qualitative research interviews with 48 musicians and key industry players from Perth’s indie pop/rock music industry and scene. It presents a socio-culturally based examination to explore its evolution over the past decade. This is presented through an examination of the personal experiences of those involved in development of the local industry and who experienced, or witnessed an increase in success and recognition of Perth bands in national, and at times international, contexts. Broadly, this research explores the repercussions the shift in attitude toward Perth’s indie pop/rock music industry and scene as being worthy of national attention and recognition. In particular, it discusses the implications this has on the functioning of this industry as well as the careers of those within it. Further, this study examines what it means to be a musician and/ or music industry member in and from Perth along with the attitudes toward supporting local music product locally and its attempts to connect with audiences beyond the state. Within this, an examination of the influence of the city’s geographical isolation on the functioning of the local industry and on the ability for musicians to connect with audiences beyond the state is presented alongside an exploration of the role of social networks and the structure of the community of practice evident in this local industry. Additionally, the notions of creativity and creative process, core-periphery, and place and space are examined in relation to the functioning of this industry in business and creative contexts. Underwriting this is an examination of the shifts in the national and international music industries and associated music culture. These shifts all at once influenced the validity for Perth music to enter the national market and impacted upon the ongoing integration of this local industry within the national and international markets.
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Johnson, Alfred B. "Fascination machine : a study of pop music, mass mediation, and cultural iconography." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1185429.
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The mediation of popular musicians in the twentieth century results in the construction of cultural formations-mass mediated pop musician icons-that are, to various degrees, weighted down by the ideologies and concerns of those who receive them as mediated texts. In passing judgment on these cultural icons, the public engages in a massive act of reading, and in the process the icons become sites of personal and cultural signification. This study examines the nature of signification in and through mass mediated popular music icons by exploring the processes by which popular music icons are produced, circulated, and read as texts; and it examines, when appropriate, the significant content of these icons.
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Costa, Jacopo. "L'expérimentation dans la musique rock : recherches historiques, socio-économiques et analytiques." Thesis, Strasbourg, 2018. https://publication-theses.unistra.fr/restreint/theses_doctorat/2018/Costa_Jacopo_2018_ED520.pdf.
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La thèse traite des musiques qui, tout en étant enracinées dans la tradition du rock, dépassent les frontières — stylistiques mais aussi sociologiques et économiques — propres au rock : pour cette raison elles sont souvent regroupées dans le « genre » du rock expérimental. Mes recherches portent sur un choix d'artistes qui sont universellement considérés comme faisant du rock expérimental, à savoir Frank Zappa, le collectif Rock In Opposition, ainsi que le groupe italien Yugen, toujours en activité et en quelque sorte héritier de Rock In Opposition. L'analyse des démarches artistiques de ces artistes, ainsi que celle du cadre socio-économique où ils opèrent, met en cause l'idée que le rock expérimental puisse exister en tant que véritable genre de musique. Ce travail de recherche suit une approche pluridisciplinaire. Dans un premier temps, il est question de définir les traits constitutifs du rock, au niveau musical, sociologique et économique, et de comprendre dans quelle mesure la notion d'expérimentation a pu s'intégrer au rock au cours de l'histoire. Ensuite, je me concentre sur le positionnement socio-économique des musiciens qui font l'objet de la recherche. Enfin, dans la deuxième partie de la thèse, plusieurs morceaux du répertoire de ces musiciens sont analysés, afin de comprendre la spécificité et la diversification de leurs parcours artistiquesThis study examines the repertoires that, while rooted in the tradition of rock, transcend the boundaries - stylistic but also sociological and economic - of rock itself: for this reason they are often grouped together in the "genre" of experimental rock. My research focuses on a selection of artists who are universally considered to be experimental rock artists, namely Frank Zappa, the collective Rock In Opposition, as well as the Italian band Yugen, still active and in a way heir to Rock In Opposition. The analysis of the artistic approaches of these artists, and of the socio-economic framework in which they operate, calls into question the idea that experimental rock can exist as a true genre of music.The study follows a multidisciplinary approach. The first step is to define the musical, sociological and economic characteristics of rock music, and to understand to what extent the notion of experimentation has been integrated into rock throughout history. Next, I focus on the socio-economic positioning of the musicians who are the subject of the research. Finally, in the second part of the thesis, several pieces from the repertoire of these musicians are analyzed, in order to understand the specificity and diversification of their artistic paths
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Chouana, Khaled. "Vers une redéfinition de la protest song ? Réflexions sur la chanson contestataire aux États-Unis : le cas de Bruce Springsteen et la reflective song." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30005/document.
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Ce travail constitue une réflexion sur la chanson contestataire contemporaine aux États-Unis à travers les chansons et l’engagement politique et social de Bruce Springsteen. Nous défendons la thèse que Springsteen renouvelle le genre de la protest song en s’adaptant à l’époque contemporaine. Pour ce faire, le chanteur adopte quatre stratégies artistiques. Elles consistent à chanter sur les gens ordinaires et leur quotidien, aborder le désenchantement et le désespoir des plus exclus, composer des chansons qui remplissent une fonction cathartique en ayant recours à l’imitation et enfin à militer dans la sphère politique et sociale en soutenant des candidats lors des élections présidentielles américaines tout en offrant des dons aux organisations caritatives qui aident les plus démunis. La thèse démontre que Springsteen arrive à se hisser au sommet du classement des meilleures ventes aux États-Unis et à travers le monde grâce à ces stratégies. Elles lui ont permis de mobiliser un public et d’avoir des millions de fans. Nous proposons d’appeler les chansons engagées de Springsteen des chansons méditatives (reflective songs). La chanson méditative de Springsteen est, sans doute, l’outil culturel de contestation le plus adapté à l’époque contemporaine où il est difficile pour un artiste engagé de protester efficacement du fait de la marchandisation de l’acte même de sa contestation. Il se peut que la reflective song de Bruce Springsteen ne change pas le monde, mais elle peut en revanche permettre aux gens de croire en un monde meilleur et donc de les dissuader de se révolterThis work is a study of contemporary protest song in the USA through the songs and social and political activism of Bruce Springsteen. It contends that Springsteen has been able to reexamine American protest songs and frame a new genre under the umbrella of rock music by adapting his music to the social and political context of contemporary America. The thesis that I defend shows that the reason behind the commercial success of Springsteen can be explained by the fact that he has adopted several artistic strategies which have brought him an audience composed of dedicated fans who admire him. I argue that Springsteen adopts four main strategies: firstly, singing about ordinary people and reporting their daily hardships; secondly, composing somber songs that deal with the despair of blue collars and marginalized Americans; thirdly, adopting mimesis (imitation) which has a cathartic effect on Springsteen’s audience; and finally, getting involved in social and political activism. The thesis contends that Springsteen is among the top selling rock singers in the USA and several other countries thanks to these four strategies. Springsteen has reinvented protest song as a genre and has become a reference in a world where everything is co-opted including the very act of rebellion. I, therefore, suggest a new term, reflective songs, to describe the songs of Bruce Springsteen when they reflect on the condition of the socially excluded instead of protesting pointlessly. Springsteen’s reflective song is undoubtedly the most relevant artistic medium to shed light on the most deprived people of contemporary America. Perhaps, the reflective song of Bruce Springsteen will not change the world, but at least it gives people a reason to hope for a better future
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Zavgorodni, Nikolai. "Rock och popmusik i undervisningen." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-28291.
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SammanfattningNikolai Zavgorodni (2008)Titel: Rock- och popmusik i undervisningen.Syfte med denna studie är att undersöka vilken betydelse har musicerandet i elevernas musikaliska utveckling. Studien omfattar musikundervisningen i gymnasieskolan. Jag har använt mig av både kvantitativ och kvalitativ metoder i min studie. Den kvantitativa metoden var i form av enkätundersökningen och kvalitativa metoden i form av observationer men framförallt i form av definitioner, konceptioner och teoretiska konstruktioner. Resultatet visar att musicerandet har en stor betydelse för musikstuderande och rock- och popmusik har en hög status i undervisningen. Majoriteten av alla studerande anser att det är viktigt att man ska satsa mer på musicerandet än på teori på lektionerna. Det framgick även av enkätstudien att det är mycket viktig med genrebredd i musikundervisningen. Många musikstuderande i studien anser att rock och popmusikgenrer har en stor betydelse i musikundervisningen. En viktig aspekt är att läraren ska engagera sig i elevernas musikaliska utveckling. Sökord: genre, ensemble, musikundervisning, musicerandet.Abstract Nikolai Zavgorodni (2008)Title: Rock and popmusic in education. A study on the importance of rock and popmusic playing in music education. The aim of this study is to find out what music students think about playing in music lesson and their reflections on the importance of genre in music education. The study covers music education in high school. I have used both of quanititative and qualititative methods in my study. The quantitative method vas in the form of queststionnaires and qualitative method in the form of my observations above all in the form of definitions, conceptions and theoretical constructions. The result shows that play the instuments is very important for students and rock and popmusic have a high status in music education. The majority of students prefer more to play the instruments than their have theory in the lesson. The most of music students in high school believ that rock and popmusic is very important things in music education. One importans aspect is that teacher’s commitment to the students musical development. Keywords: genre, ensemble, music education, play the instruments.
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Matos, Susana Isabel Mendes de. "Music and subversion in Tom Stoppard's rock 'n'roll." Master's thesis, Universidade de Aveiro, 2013. http://hdl.handle.net/10773/11967.
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Mestrado em Línguas, Literaturas e CulturasThis dissertation aims at analysing music as a form of subversion in Tom Stoppard’s play Rock ‘N’ Roll. After a short summary of Stoppard’s career, the bands and songs chosen by him are analysed from the perspective of subversion against censorship and totalitarian regimes, relating them to the plot. The dissertation also focuses on the specific case of the Czech band the Plastic People of the Universe and its importance to the history of Czechoslovakia between 1968 and 1990.
O presente trabalho propõe-se apresentar uma análise da música como forma de subversão na peça de teatro Rock ‘N’ Roll de Tom Stoppard. Após um breve resumo da carreira literária de Stoppard, são analisadas as bandas e músicas escolhidas pelo autor numa perspetiva de subversão contra a censura e regimes totalitaristas, relacionando-as com o enredo da peça. Foca-se ainda o caso específico da banda checa Plastic People of the Universe e a sua importância para a história da Checoslováquia entre 1968 e 1990.
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Branch, Andrew. "Social mobility, masculinity and popular music : the case of glam rock." Thesis, University of East London, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533002.
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Since its emergence in the early seventies, glam rock has been theoretically categorized as a moment in British popular culture in which essentialist ideas about male gendered identity in particular were rendered problematic for a popular music audience. In providing both a discursive reading of glam during the period 1971-1974 and new research on glam's influence on its male working-class fans, I argue that whilst this reading of glam is valid, insufficient attention has been given to an examination of the relevance of social mobility vis-ä-vis the construction of self-identity in relation to glam. My thesis is therefore concerned with raising questions about social class in addition to interrogating questions of gender. In undertaking a study of the ethno-biographies of a sample of glam's original working-class male fans, the thesis contends that glam's political significance is better understood as a moment in popular culture in which an educationally aspirant section of the male working class sought to express its difference by identifying with the self-conscious performance of a more feminized masculinity it located in glam. This rearticulation of masculinity, performed by an increasingly self reflexive subject, alive to the social and cultural upheavals of the period, was discursively represented as a modern development in contrast to the dominant representations of working-class masculinity - bound by tradition and community and thus essentialized as resolutely masculine - that had until that historical moment enjoyed hegemonic status. The thesis argues that the modem/unmodern dialectic at play here was replicated in glam's divergent artistic factions, which aligned themselves to competing aesthetic positions. In critiquing this process, the thesis engages with the work of Bourdieu (1993a, 2003,2007a) to raise questions about how this transition from unmodern to modern was affectively experienced by glam's male fans. The thesis concludes with an examination of glam rock's legacies in respect of more recent performances of masculinity by working-class young men seeking mobility. Finally, it draws on Skeggs' (2004) work to argue that class-based identities are always fixed by the more powerful other in order to be morally judged.
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Marshall, Debra J. "A rereading of religion and rock and roll." Honors in the Major Thesis, University of Central Florida, 2002. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/286.
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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.Bachelors
Arts and Sciences
Liberal Studies
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Brooks, Sarah, Dan O'Halloran, and Alexandre Magnin. "Rock On! : Bringing strategic sustainable development to music festivals." Thesis, Blekinge Tekniska Högskola, Avdelningen för maskinteknik, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-3860.
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Recreational events gather large numbers of people in concentrated areas for brief periods of time. Effects of these events extend far beyond their spatial and temporal boundaries; a music festival is one such event. This paper asks, “What are some measures that can move music festivals strategically toward sustainability?” A framework for strategic sustainable development based on backcasting from sustainability principles is applied. Research draws on pertinent literature, interviews with festival organizers and an in-depth case study with International Music Concepts. Results indicate that critical flows and management routines upon which music festivals depend contribute to systematic undermining of social and ecological systems. Festival organizers sit at the centre of these flows, and are crucial to changing them. Education to inspire behavioural change of festival organizers and other stakeholders, notably suppliers, audience and artists, appears critical to shifting music festivals toward sustainability. This can be underpinned by building in-house ‘sustainability capacity’ of festival organisations; creating strategic alliances between festival organizers; and scaling up organisational efforts to include lobbying governments for financial and other support to authenticate a high-level commitment to true sustainable development. Music festivals may then leverage their role in society to move society itself toward sustainability. A template and guidebook are presented to facilitate this shift.
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Murphy, Kevin Jones. "Making the Scene: An Investigation of the Rock and Roll Scenes of Nashville, Tennessee, and Athens, Georgia." TopSCHOLAR®, 2004. http://digitalcommons.wku.edu/theses/244.
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Making the Scene: An Investigation of the Rock and Roll Scenes of Nashville, Tennessee, and Athens, Georgia, takes a look at the ways in which both the identities of a music scene and the individuals taking part in that scene are created and maintained. Issues of identity are addressed by examining the roles performed by various members of the scene (musicians, soundmen, club owners, etc . . .), by focusing on the influence of landscape, and looking at the ways a scene’s members identify with the cultural region that surrounds their particular scene (in this case both scenes are located in the American South). Data for this thesis was gathered in two ways: through traditional, ethnographic interview with musicians from Athens, and Nashville, and from the author’s personal experience as a member of the Nashville rock Scene from 1990 to 2001. Secondary sources were also consulted. Having analyzed the data, the author concludes that the scene is a function of culture; it is created and sustained through personal interaction and cultural imagination—individuals create and sustain it. Once it is created, once it is constructed, and named, the scene has an affect on the individuals that come to take part in it. It helps to shape their identities. Individuals, however, continue to exert influence over the scene, constantly altering its character.
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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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Zavgorodni, Nikolai. "Rock och popmusik i undervisningenEn studie om betydelsen av musicerande på gymnasiets estetiska program." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-34072.
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SammanfattningZavgorodni, Nikolai (2008). Titel: Rock- och popmusik i undervisningen. En studie om betydelsen av musicerande på gymnasiets estetiska program (Rock and pop music in music education. Investigating the importance of music creation in high school’s aesthetic program).Syfte med denna studie är att undersöka vilken betydelse musicerandet har i elevernas musikaliska utveckling. Studien omfattar musikundervisning i gymnasieskolan. Jag har använt mig av kvantitativ metod i min studie. Den kvantitativa metoden var i form av enkätundersökningen. Resultatet visar att musicerandet har en stor betydelse för musikstuderande och rock- och popmusik har en hög status i undervisningen. Majoriteten av alla studerande anser att det är viktigt att man ska satsa mer på musicerandet än på teori på lektionerna. Det framgick även av enkätstudien att det är mycket viktig med genrebredd i musikundervisningen. Många musikstuderande i studien anser att rock och popmusikgenrer har en stor betydelse i musikundervisningen. En viktig aspekt är att läraren ska engagera sig i elevernas musikaliska utveckling. Sökord: genre, ensemble, musikundervisning, musicerandet.Abstract Title: Rock and popmusic in education. A study on the importance of rock and popmusic playing in music education. The aim of this study is to find out what music students think about playing in music lesson and their reflections on the importance of genre in music education. The study covers music education in high school. I have used both of quanititative and qualititative methods in my study. The quantitative method vas in the form of queststionnaires and qualitative method in the form of my observations above all in the form of definitions, conceptions and theoretical constructions. The result shows that play the instuments is very important for students and rock and popmusic have a high status in music education. The majority of students prefer more to play the instruments than their have theory in the lesson. The most of music students in high school believ that rock and popmusic is very important things in music education. One importans aspect is that teacher’s commitment to the students musical development. Keywords: genre, ensemble, music education, play the instruments.
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Ceulemans, Cédric. "Three essays in the economics of music: reputation and success of musicians." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209455.
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The music industry is a market of superstars, that is a market where a relatively small number of people earn enormous amounts of money and dominate the activity in which they engage (Rosen,1981). Theories on the superstars phenomenon suggest that luck (Adler, 1985) or talent (Rosen, 1981) are the driving forces behind success. Thus, the “superstars models” left performers with no “active” role: successful artists are either endowed with an innate talent far above the average or are extremely lucky. However, all musicians (talented or not; lucky or not) take continuously decisions that affect their career. Chapter 1 and 2 of this dissertation analyze in details some of these decisions and their influence on success.Chapter 1, Rock Bands: Matching, Recording & Work Organization,4 investigates the impact of partnerships, matching, and work organization on the success of rock musicians using a unique database of 1,494 albums released between 1970 and 2004. We show that rock bands differ in their work organization because the agreements between the members of band are different. These agreements can be seen as implicit contracts. Drawing on this observation, we develop a model where agents (musicians) with different levels of creativity match (to form a band) and produce a joint output (a song). We show that the way agents match (positively or negatively) is correlated with success and depends on the (in)completeness of contracts. The theoretical results are supported by the data.
Chapter 2, Musical Characteristics and Success in Commercial Music, analyzes the relationship between musical characteristics, that can objectively be measured, and different types of success (commercial success, critical success, and success assessed by music lovers). We show that the strength and the direction (positive or negative) of the relationship between success and musical characteristics vary with the measure of success.
The third chapter goes in a slightly different direction than the two others as it deals with long term reputation of composers rather than commercial success of pop-rock musicians. Chapter 3, The Formation of the Canons of the Baroque Music, analyzes the reputation of baroque composers over time. The dataset makes it possible to describe the evolution of composers’ reputation and of the baroque canon. The entries in seven important musical dictionaries written between 1790 and 2000 are used to measure reputations. We provide evidence that a consensus exists between musicologists, who often rely on their predecessors’ work.
References:
Adler, M. (1985). Stardom and talent. American Economic Review, 75, 208-211.
Rosen, S. (1981). The economics of superstars, American Economic Review, 71, 845–858.
Doctorat en Sciences économiques et de gestion
info:eu-repo/semantics/nonPublished
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Bassalé, Parfait Adegboyé. "Music and Conflict Resolution: Can a Music and Story Centered Workshop Enhance Empathy?" PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1122.
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The Story and Song Centered Pedagogy (SSCP) is a workshop that uses songs, stories and reflective questioning to increase empathy. This preliminary study tested the prediction that being exposed to the SSCP would increase empathy using, the Emotional Concern (EC) and Perspective Taking (PT) subscales of the renowned Interpersonal Reactivity Index (IRI) (Davis, 1990). Subjects self-reported their answers to the IRI before and after undergoing the SSCP intervention. Comparing their pre and post intervention results, no statistically significant changes were noticed for the EC and PT scales (p-value = 0.7093 for EC; p-value = 0.6328 for PT). These results stand in direct tension with the anecdotal evidence gathered from 10 years of action research that shows that the SSCP impacts audiences' ability to empathize. This opens the door for additional research with more rigorous methodology and a larger sample size which will allow for more interpretative analysis. These results also probe the concern about whether the IRI is the most suitable tool to quantitatively measure the empathetic responses caused by the SSCP and evidenced by action research.
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Johnston, Mindy Kay. "Music and Conflict Resolution: Exploring the Utilization of Music in Community Engagement." PDXScholar, 2010. https://pdxscholar.library.pdx.edu/open_access_etds/437.
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This study is based on interviews conducted with twenty-two musician-activists in the Pacific Northwest region of the United States in 2009 to explore perspectives about the role of music in community engagement with the aim of considering how music might be used in the field of conflict resolution. The study followed the qualitative approach of constructivist grounded theory as designed by Charmaz (2000, 2002). Two themes, "Music for Self," and "Music for Society" emerged from interviews and comprise the internal and external meanings of music to the research informants. The results of the study indicate that the relationships people have with music make it a potentially powerful tool in conflict situations within the realms of both conflict resolution and conflict transformation. More extensive research exploring these benefits is recommended.
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Gautier, Alba. "Producing a popular music : the emergence and development of rap as an industry." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.
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In this thesis, I trace the evolution of the rap market from its emergence in 1979 in New York City to its development into a national industry in 1990. I analyze the motivations of the producers of rap and the mechanisms that led to their current organization. Independent labels were the primary producers of rap records until they made distribution deals with major record companies in the second half of the eighties. I argue that the division of labor between production and distribution, which became the most common context for the production of the music, is both the result of an organizational strategy initiated by the majors and of the negative perception their executives had of rap artists.
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Kruger, Jaco Hentie. "A cultural analysis of Venda guitar songs." Thesis, Rhodes University, 1994. http://hdl.handle.net/10962/d1002309.
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This thesis focuses on the articulation in music of human worldviews, and the social contexts in which they emerge. It suggests that people project various forms of social reality through symbolic systems which operate dynamically to maintain and recreate cultural patterns. The symbolic system investigated in support of this suggestion is that constituted by Venda guitar songs. In the performance of these songs, social reality emerges in a combination of symbolic forms: verbal, musical and somatic. The combination of these symbolic forms serves as a medium for individual self-awareness basic to the establishment of social reality and identity, and the drive for social power and legitimacy. A study of these symbolic forms and their performance indicates that musicians invoke the potential of communal music to increase social support for certain principles on which survival strategies in a turbulently changing society might be based. The discourse of Venda guitar songs incorporates modes of popular expression and consciousness, and thus attempts to invoke states of intensified emotion to promote these survival strategies. Performance occasions emerge as a focus for community orientation and the exploration of social networks. They promote stabilizing social and economic interaction, and serve as a basis for moral and cooperative action. Social reality also emerges in musical style, which is treated as the audible articulation of human thought and emotion. Stylistic choices are treated as integral to the conceptualization of contemporary existence. A study of these choices reveals varying degrees of cultural resistance and assimilation, ranging from musical styles which are essentially rooted in traditional social patterns, to styles which integrate traditional and adopted musical elements as articulations of changing self-perceptions, social aspirations, and quests for new social identity.
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Warr, Richard Lloyd. "Music consumption : the impact of social networking, identity formation, and group influence." Thesis, Swansea University, 2015. https://cronfa.swan.ac.uk/Record/cronfa43122.
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Previous researchers such as McGuire & Slater (2005) noted that people have an inherent need to share favourite music with other people, and also theorised that a democratisation of culture is taking place with consumers effectively standing by (or in some cases even replacing) traditional tastemakers by sharing music with one another through the Internet; thus shaping culture and in turn themselves. In addition, this theory supports the notion that once music consumers discover others online who have similar or interesting tastes, they may begin to interact with one another; therefore leading to the formation of communities around an artist or genre (or around a particular tastemaker such as a podcaster) which may also provide benefits to consumers in other areas of their social lives. The motivation of this thesis was to explore how these online social influences compared to the traditional offline social influences that can be inferred upon music consumption behaviours and habits. Methods of consumption can include listening to music alone or with others, obtaining music in different formats and on various platforms, and attending live events such as music shows or festivals. A study was conceptualised on behaviours relating to live music consumption, with a literature review being conducted on the exploration of the music industry and its digitisation, identity theory (both individual and collective), and social influence. The research methodology was separated into two phases; the first being a qualitative exploratory investigation consisting of a webnography data collection which was used to examine relevant trends in online forums, and the second an online survey. The online survey allowed for the quantitative testing of the theoretical frameworks identified by the literature review, as well as enabling the development of predictive models for live music consumption behaviours in both the online and offline social contexts.
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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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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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Lawrenson, Ilean. "Anthropologizing musical performance, the quest for a rapprochement of classical music production and practice." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ42167.pdf.
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Atwood, Brett D. "The role of Rap and Hip-hop music in value acceptance and identity formation." Scholarly Commons, 2006. https://scholarlycommons.pacific.edu/uop_etds/631.
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This study exp !ores the relationship between an individual's interest in and exposure to the rap/hip-hop genre and the messages and values contained within the music, as well as the role of self-esteem in generating interest and motivating exposure to rap/hip-hop music. A survey questionnaire was administered to 213 students at a community college in northern California. Interest and exposure to rap/hip-hop were found to be significantly correlated with acceptance of a number of values portrayed in the music. However, those most interested in and exposed to rap/hip-hop music were less likely to perceive negative social values in the music as well as believe these values characterized rap/hip-hop artists. Self-esteem failed as a predictor of interest and exposure to the music.
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Rabinowitch, Tal-Chen. "Musical group interaction : mechanisms and effects." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648235.
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Ponchione, Cayenna R. "Tracking authorship and creativity in orchestral performance." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:038d450e-f009-4ab0-879f-71d8f77bd77b.
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This thesis takes as its starting point the observation that the authorship of the creative product of orchestral performances has been, and continues to be, over-attributed to the conductor. This is reflected both in popular perceptions and in the scholarly attention given to the conductor's leadership role, as well as in orchestral practices which privilege the conductor's artistically superior position within the orchestra through rehearsal and performance rituals and in remuneration and marketing. Although existing research has challenged the perception that the authority of the conductor is absolute, none has offered alternative explanations for how best to attribute the authorship of orchestral performances. Through a three-phased mixed-methods empirical study including an online questionnaire, in-depth interviews, and a newly developed method of data collection utilising an online variation of video-stimulated recall to capture musician experiences in real-life rehearsal and performance settings, this research contributes to an understanding of the social psychology of orchestral performance by identifying what prompts musicians' decision-making regarding how and when to play their parts. The analysis of the data has resulted in the development of a theoretical Framework of Influence and Action in Orchestral Performance that offers a new way of conceptualising authorship in performance through a 'theory of influence'. It concludes with an exploration of the implications of this revised view of authorship for existing orchestral practices, group creativity research, and our understanding of how the relationships enacted in the micro-socialities of orchestral performance reflect larger social formations.
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Chen, Chen. "Development of the western orchestra in China." Virtual Press, 1998. http://liblink.bsu.edu/uhtbin/catkey/1118237.
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The subject of this study is the historical development of a vehicle for a form of western art (the orchestra) in China from 1840 to the present. The writer was primarily concerned with how the orchestra developed in broad socio-economical, political-cultural, and historical contexts with an emphasis on elaborating certain conditions responsible for the specific features of this development. The following major aspects of the development of the orchestra in China are discussed:1)The uniqueness of China's culture before accepting western culture;2)Reason and procedures by which China accepted western music and its orchestra;3)The social change in the 1950s which affected the function of the orchestra in China;4)The influence of political movements and individual roles on the development of the orchestras in China;5)The emergence of the orchestra as a cultural symbol during China's modernization;6)The fact in which the orchestra become a cultural symbol during China's modernization;7)Roles and functions of the orchestra during the cultural merging of China and the West;8)The future of the orchestra in China.The purpose of this study is to confirm the cultural assimilation of the western orchestra as a world-wide trend, one in which East and West enrich one another.School of Music
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MacDonald, Jennifer Marie. ""Devil on the fiddle" : the musical and social ramifications of genre transformation in Cape Breton music." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99381.
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In 1995, fiddler Ashley MacIsaac released the album Hi, How Are You Today? that featured MacIsaac performing traditional Celtic tunes accompanied by modern rock instruments. The musical genre transformation on the album (notable because people who were not fans of Celtic music bought this album, tracks were released for airplay, and music videos accompanied the singles) can be studied according to the types of genre transformation outlined by Alastair Fowler in Kinds of Literature. If MacIsaac's goal was to offer a popular rock album while playing traditional tunes on the fiddle, critics and members of his audience inevitably questioned his motivation, from which charges of pandering and exploitation followed. Alternate interpretations stressed that MacIsaac was merely adapting traditional music to reflect a changing musical climate. This thesis examines such perspectives, along with the global phenomenon of modernizing folk music amidst the ambiguous boundary between popular and folk musical genres.
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Dick, Terence. "Functional music and consumer culture (instrumental version)." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0008/MQ30210.pdf.
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Roberts, Brian Alan. "The social construction of 'musician' identity in music education students in Canadian Universities." Thesis, University of Stirling, 1990. http://hdl.handle.net/1893/2141.
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This research concerns itself with the development of a theory in the grounded tradition to account for the social construction of an identity as musician by music education students in Canadian universities. The principal data gathering techniques were semi- and unstructured interviews and participant observation, first at the Faculty of Education and the Faculty of Music, University of Western Ontario with further periods of interviewing at the University of Alberta and the University of British Columbia. The pilot study was conducted at Memorial University of Newfoundland where the author was, at the time of writing, an Associate Professor and Co-ordinator of Music Education in the Faculty of Education. Data collection and analysis were completed simultaneously and the interviewing became more focused on emerging categories and their properties, particularly concerning the construction of identity. The core categories discussed concern the apparent sense of isolation and the development of a symbolic community in the music school, as suggested by Cohen (1985). Further core analytic categories include the music education students' perceptions of Others as outsiders to their own insider symbolic community, and the students' perception of social action, including the notion of deviancy, which contributes to their construction of this symbolic closed community. An examination of models of social action is undertaken. The notion of making points as suggested by Goffman (1967) provides a beginning model for the identification and accumulation of status points which students appear to use in the process of identity construction and validation. Further discussion examines the nature of the music education sub-group as a stigmatized group. The nature of the category musician is examined and substantial comparison and contrasting with the position presented by Kingsbury (1984) is undertaken. The analytical categories of talent and music as in-group constructs are examined. Finally the processes of Self-Other negotiation on are explored and a theory is developed to account for the construction and maintenance of musician identity. The emerging theory borrows extensively from those analyses of the roots of social interaction recognised in the labelling tradition which are concerned with the construction of identity in negotiation with Others, and most specifically draws upon the notion of societal reaction. The research is guided by those theories and methodologies generated by symbolic interactionism developed by writers such as Blumer, Meltzer and Denzin and follows the traditions of sociological research in educational settings by such writers as Baksh, Martin and Stebbins in Canada, and Hargreaves, Woods, Ball, Hammersley and Lacey in the U.K.
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Economou, Konstantin. "Making music work : Culturing youth in an institutional setting." Doctoral thesis, Linköpings universitet, Tema Kommunikation, 1994. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-35081.
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This thesis is based on two years of participant observation in a municipal youth club in a Swedish city suburb. In focus is a group of 14-19 year old boys and their relations to peers and to the staff of the club. Rock music playing, the activity they engage in, is studied as a part of the youth club practice, and seen as a communicative process in which relations are lived out. Two approaches are identified; "to go for it" and "to have fun" both of which become important in the boys´ musical awareness, as well as their attitude to life. The youth club is seen as a place where a particular kind of democratic dilemma is grappled with. The club has the pedagogical aim of creating meaningful leisure time on the visitors tenns, but also of disciplining them and functioning as an instrument of guidance into adult life values. Questions of power-relations and institutionalization are discussed through notions of the dialectic of control (Giddens); of authority (Sennett), and of Goffman's analysis of life within public institutions. In this setting, the complexity of power and of growing up in modem society are studied. Both groups; the staff and the visitors, are seen as jointly shaping and recreating a communicative practice through interaction, with music playing as the medium through which relations are transformedand hierarchies seemingly overturned at the same time as social control is cemented and protest limited.
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Holbrook, Benjamin Scott. "Music and the Movement: Understanding Occupy Wall Street." Digital Commons @ Butler University, 2017. https://digitalcommons.butler.edu/grtheses/489.
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On September 17, 2011, protestors set up camp in Zuccotti Park in New York's financial district, initiating a 59-day social and political movement known as Occupy Wall Street. Writing about the protest, James C. McKinley Jr. of the New York Times declared that the movement "lacks a melody" compared with protest movements of the previous century. Despite the common perception that little music accompanied the movement, organizers released Occupy This Album: 99 Songs for the 99%, a collection of songs connected with, written for, or written about the Occupy Wall Street movement. This thesis investigates the place of Occupy Wall Street in society through its musicking and through Occupy This Album: 99 Songs or the 99%. Building upon the sociomusicological work of R. Serge Denisoff and the work of Garth S. Jowett and Victoria O'Donnell, I propose a framework for a categorization of songs through their lyrical content and apply it to the music found on Occupy This Album. Then, using this framework, I determine the potential "progressiveness" of Occupy Wall Street through the modernization theory of Talcott Parsons. I contend that Occupy this Album: 99 Songs for the 99% shows Occupy Wall Street to be a modernizing movement as indicated through its large output of propaganda songs, showing a commitment to communication of diverse knowledge and ideologies and a generalization of value sets. This analysis and its conclusion situate Occupy Wall Street in society through its musical output rather than through its cultural and political effects
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Pinto, Marcelo Garson Braule. "Jovem Guarda: a construção social da juventude na indústria cultural." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8132/tde-14122015-124043/.
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Investigar o surgimento da ideia de música jovem no Brasil é o objetivo deste trabalho. Para tanto, privilegiamos os anos 60, momento em que a categoria de jovem, tornava-se hiper-representada na música, na televisão e na imprensa escrita, processo que culmina com a estreia do programa de TV Jovem Guarda, em agosto de 1965. Comandado por Roberto Carlos, Erasmo Carlos e Wanderléa, tratava-se de um apanhado de performances musicais que tinham a juventude como nicho de mercado privilegiado, cruzando influencias que iam dos Beatles à música italiana. Em pouco tempo, seus artistas se tornaram ídolos nacionais. Reconhecíveis em programas de TV, filmes, ensaios fotográficos, reportagens, sessões de entrevistas e até artigos de consumo como calças, botas, bonecos e lancheiras, em pouco tempo seus artistas tornaram-se não só ídolos nacionais, mas modelos de reconhecimento, identificação e conduta. Tratava-se do esforço inédito de construir uma cultura juvenil ao redor do consumo de música. O protagonismo da mídia é evidente em todo o processo, não somente por articular um mercado de bens culturais, mas sobretudo por fixar os quadros de referência que permitem enxergar, enquadrar e interpretar o jovem. Isso explica o foco desta tese na ação da indústria cultural. Ao lidar com uma grande diversidade de fontes - letras de canções, capas de disco, material de imprensa, artigos de consumo, pesquisas de mercado, entrevistas, registros audiovisuais -, em sua maioria primárias, estuda-se os diversos e conflitantes significados que forjaram a ideia de uma cultura juvenil no Brasil, desde sua enunciação em meados da década de 50, até seu amadurecimento na década seguinte. Sendo a música jovem o nosso campo de investigação privilegiado, o objetivo central é analisar a representação social da juventude construída pela Jovem Guarda e articulada no interior dos veículos de comunicação de massa. Para alcançá-lo, interessa-nos investigar: que representação é essa; como ela é assumida por agentes e instituições; através de que linguagem se afirma; a qual universo simbólico se refere e como é confrontada por narrativas concorrentes. Trabalhando na interseção entre a sociologia da música e a sociologia da juventude, exploramos em que medida a juventude se torna uma categoria central para pensar a música e a música, uma categoria central para pensar a juventude.The aim of this work is to investigate the emergence, in Brazil, of the ideia of a music for young people. This brings us to the 60´s, a moment when the category of youth began to dominate album covers, song lyrics, press statements, and a good number of advertising materials. One of this process\'s landmarks was the Jovem Guarda (Young Guard) television show launched in September 1965 and led by Roberto Carlos, Wanderléa and Erasmo Carlos. Consisting of a number of musical performances, it targeted youth and gathered influences ranging from the Beatles to Italian pop music. Soon, its artists become national idols; their image multiplied in TV shows, films, photo essays, reports, interviews and even consumer goods like pants, boots, dolls, lunch boxes etc. It is through these platforms that singers were constructed as models of youth identity, putting forward an unprecedented effort to build a youth culture around music consumption. In this equation, the media played a decisive role by offering not only items for young consumers, but primarily ways of viewing, framing and interpreting youth. That explains the focus of this thesis on the cultural industry. By dealing with a wide range of materials - song lyrics , album covers, newspapers, consumer goods , market research statistics, interviews , audio-visual records -, most of them primary sources, we study the various and conflicting meanings that forged the idea of a youth culture in Brazil since its enunciation in the mid- 50 until its maturity in the next decade. As the music is our privileged field of research, the main objective is to analyze the social representation of youth built by the Jovem Guarda and articulated within the mass media. To reach our aims, we are interested in investigating: the nature of this representation, how artists and institutions adopted it, the language used to affirm it, the symbolic universe it refers to and how it is confronted by competing narratives. Working on the intersection between the sociology of music and the sociology of youth, we explore in which way the youth became a central category to think about music, and music, a central category to think about youth.
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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.
Full text
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Leung, Lai-yue Ciris, and 梁麗榆. "The social organization of a Cantonese opera performance." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B29751093.
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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.
Full textAbstract:
Defence date: 15 April 2019Examining Board: Professor Stéphane Van Damme, European University Institute; Professor Laura Downs, European University Institute; Professor Catherine Tackley, University of Liverpool; Professor Pap Ndiaye, SciencesPo
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 entertainment circuit. Both cities functioned as sites of crossfertilisation for genres of music that were co-produced in a circulation between empires and Europe. Musicians of various origins met in the urban spaces of the two cities. The convergence and intermingling of musical cultures that musicians had brought with them produced new sounds. This process was influenced by a minority group (blacks), but had a significant and lasting influence on the musical world. By creating an historical account of the encounters and exchanges between people of different origins within the music scenes, this thesis examines music development and the complexity of processes of racialisation according to their historical locality and meaning. Using a variety of sources including police reports, government documents, interviews, guidebooks and newspapers, this work contributes to widen the perspective of historical studies on music developments, emphasising their social and spatial dimensions, which are fundamental for the exploration of music scenes, in general, and for the spread of black genres of music in particular. Black music styles spread internationally, but were produced in several specific locations where music industry infrastructure was developing. In the urban spaces of the music scenes of London and Paris social networks were formed by various actors - both blacks and whites - and were crucial for music production and reception; different perceptions of blackness, processes of competition, and debates on authenticity emerged; and processes of regulation and negotiation underpinned the intervention of public authorities.
Chapter 4 'Black Music Styles as Vehicles for Trans-racial Interplay: Practices of Learning, Perceptions of Blackness and Commercialisation of Music' of the PhD thesis draws upon an earlier version published as an article “Black Music Styles as Vehicles for Transnational and Trans-Racial Exchange: Perceptions of Blackness in the Music Scenes of London and Paris (1920s-1950s),” (2017) in the journal 'Zapruder world'
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Laplante, Audrey. "Everyday life music information-seeking behaviour of young adults: an exploratory study." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=22017.
Full textAbstract:
The aim of this qualitative research was to contribute to a richer understanding of the everyday life music information-seeking behaviour of young adults. The objectives were (1) to uncover the strategies and sources young adults use to discover new music artists or genres, (2) to understand what motivates young adults to engage in information-seeking activities, and (3) to explore what clues young adults look for in music items to make inferences about the relevance or utility of these items.Fifteen young adults (18 to 29 years old) of the French-speaking Montreal Metropolitan community participated in this study. The data were collected through in-depth semi-structured interviews. Drawing on the research on shopping behaviour and music behaviour, Wilson's 1996 model of information behaviour has been revised and used to guide data collection and analysis. The data were analyzed inductively, using the constant comparative method.The analysis revealed that the participants had a strong penchant for informal channels (i.e., friends, colleagues, relatives) and low trust of experts (i.e., librarians, reviewers, music store staff). It also emerged that music discoveries were often the result of passive behaviour. When music was actively sought, it was rarely a goal-oriented activity. Indeed, it was mostly the pleasure they took in the activity itself – the hedonic outcome – that motivated them to look for music rather than an actual information need. Related to that, browsing, which is best suited for non-goal oriented information seeking, was a very common strategy among participants.The study also revealed that rich metadata, such as bibliographic information, associative metadata, recommendations, and reviews, were highly valued by the participants. In addition to allowing people to browse music in different ways, these metadata represent valuable information that is used to make inferences about the type of experience a music item proposes. ParticipaLe but de cette recherche qualitative est de contribuer à une meilleure compréhension du comportement dans la recherche de musique des jeunes adultes dans la vie de tous les jours. Les objectifs étaient de comprendre (1) les stratégies et les sources que les jeunes adultes utilisent pour découvrir de nouvelles musiques; (2) ce qui les motive à entreprendre des recherches afin de découvrir de nouvelles musiques; et (3) la façon dont ils s'y prennent pour évaluer la pertinence ou l'utilité d'enregistrements musicaux.Quinze jeunes adultes (âgés entre 18 et 29 ans) francophones de la région du Montréal métropolitain ont participé à cette étude. Les données ont été collectées au moyen d'entretiens semi-structurés en profondeur. En s'appuyant sur la recherche sur les habitudes de magasinage et sur le comportement musical, le modèle de comportement informationnel développé par Wilson en 1996 a été modifié. C'est ce modèle qui a guidé la collecte et l'analyse des données. Les données ont été analysées de façon inductive, en utilisant la méthode d'analyse par comparaison constante.L'analyse a montré que les participants avaient une préférence marquée pour les sources d'information informelles (amis, collègues, famille) et une confiance limitée envers les experts (bibliothécaires, critiques, disquaires). Il est également apparu que leurs découvertes musicales étaient souvent le résultat d'un comportement passif. De plus, quand ils recherchaient activement de la musique, il s'agissait rarement d'une activité orientée vers un but précis. En effet, il s'est avéré que c'était davantage le plaisir qu'ils prenaient dans l'activité – le résultat hédonique – qui les motivait à entreprendre des recherches plutôt qu'un véritable besoin d'information. De la même façon, le bouquinage, qui constitue une méthode particulièrement appropriée pour rechercher de l'information sans but précis, était très populaire chez
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Murdock, Mervin Charles. "An Investigation of the Relationship Between Seventh, Tenth, and Twelfth Graders' Participation in School Choir and Their Perceived Levels of Self-Concept and Social Support." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332715/.
Full textAbstract:
The purpose of this study was to investigate the relationship between seventh, tenth, and twelfth graders' participation in school choir and their perceived levels of self-concept and social support. The problems of the study were to determine (1) if there were significant differences in perceived self-concept and social support levels of choir members and non-music students, and (2) if there were significant changes in self-concept and social support of choir members from grades seven to ten to twelve. A secondary concern was school activity involvement, to guard against attributing significant differences of self-concept and social support to choir participation alone.
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Iwamasa, Dawn A. "The effect of music-assisted relaxation training on measures of state anxiety and heart rate under music performance conditions for college music students." Scholarly Commons, 1998. https://scholarlycommons.pacific.edu/uop_etds/2324.
Full textAbstract:
The purpose of this study was to examine the effects of a music-assisted relaxation training program as a treatment method for college music students suffering from performance anxiety. A total of 40 participants were randomly assigned to the experimental (n=20) and wait-list control (n=20) groups. The experimental group received six music-assisted relaxation training sessions while the wait-list control group received no contact. Dependent measures included pre- and post-test State Trait Anxiety Inventory (ST AI) scores and heart rate measurements during individual jury examinations (performance condition).
Results found no differences in ST AI scores and heart rate measurements between groups. Factors such as years of formal training and memorization of performance showed no differences in dependent measures. The experimental group rated their performance quality as significantly higher than the wait-list control group.
All participants who received the relaxation training program felt they benefited from it, and_ found it helpful in feeling more "in control" and "focused on their music" during performances.
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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.
Full textAbstract:
This dissertation is a critical, theoretical study focussing is on the contribution that popular music makes towards raising awareness and promoting the prevention of HIV/Aids in Nairobi, Kenya. Towards this end, an analysis of the lyrics and musical gestures of four Kenyan pop music songs is undertaken in order to highlight their communicative capabilities in this regard. These songs, namely, are Lulumbe by Wasike wa Musungu, Juala by Circute and Jo-el, Vuta Pumz by The Longombas, and Dunia Mbaya Chunguze by Princess Jully. The context in which these musical analyses occur is provided in: - An overview of the Kenya of today, in particular that of the diverse and hybrid ethnic, linguistic, musical and cultural practices of Nairobi, and of the various youth cultures in that city, as well as in an overview of the extent of the HIV/Aids pandemic in Kenya, especially amongst the youth of Nairobi, with some reflection on existing interventions. - An overview of current trends in popular music analysis and an explanation of the author’s own eclectic semiotic analytical methodology within this context. The study concludes that a repeating strategy may be discerned on the part of the composers and performers in question, namely, to first engage audiences through language and music with which they are familiar, and then to encourage audiences to confront the unknown and unfamiliar in music and language, but also ultimately in terms of their social practices. The known and the familiar is highlighted both in the lyrics and in the music itself. It includes use of commonlyspoken languages and dialects, popular musical styles typical of the particular sub-culture, and references to the day-to-day experiences of the ordinary person.
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"Rock music and hegemony in China." Chinese University of Hong Kong, 1994. http://library.cuhk.edu.hk/record=b5887223.
Full textAbstract:
by Wong Yan Chau, Christina.Thesis (M.Phil.)--Chinese University of Hong Kong, 1994.
Includes bibliographical references (leaves 175-186).
Chapter I. --- Introduction --- p.2
Chapter II. --- Historical Background --- p.5
Chapter III. --- A Review of the Related Literature --- p.14
Chapter A. --- The Culture Industry Approach --- p.15
Chapter B. --- The Liberal-Pluralist Approach --- p.26
Chapter C. --- The Technological Approach --- p.31
Chapter IV. --- The Theoretical Perspective --- p.36
Chapter V. --- Methodological Approach to Study --- p.42
Chapter A. --- Content Analysis of Lyrical Messages --- p.42
Chapter 1. --- Method --- p.42
Chapter 2. --- Data --- p.43
Chapter 3. --- Analytic Framework of the Textual Analysis --- p.45
Chapter B. --- Analysis of Rock Music within Hegemony --- p.48
Chapter 1. --- Method --- p.48
Chapter 2. --- Data --- p.50
Chapter VI. --- Meanings in Rock Music --- p.52
Chapter A. --- Themes in each fictional mode --- p.52
Chapter B. --- Thematic content of Rock Music --- p.54
Chapter 1. --- The Ironic Mode --- p.54
Chapter 2. --- The Mimetic Mode --- p.64
Chapter a. --- Phenomena of Identity Crisis --- p.64
Chapter i. --- Loss of direction --- p.65
Chapter ii. --- Roots-seeking --- p.68
Chapter iii. --- Alternating identity --- p.69
Chapter iv. --- Alienation --- p.71
Breakaway --- p.71
A Stranger in the City --- p.74
Chapter b. --- Outlook on Life --- p.76
Chapter c. --- Social Problems --- p.79
Chapter i. --- War --- p.79
Chapter ii. --- Incivility --- p.81
Chapter d. --- The Experience of Growing Up --- p.82
Chapter i. --- Anti-patriarchism --- p.82
Chapter ii. --- Wandering --- p.83
Chapter iii. --- The Loss of Childhood --- p.84
Chapter e. --- Love --- p.85
Chapter i. --- Yearning for love --- p.85
Chapter ii. --- Frustrations with love --- p.86
Chapter iii. --- Wild love --- p.88
Chapter iv. --- Inauthentic love --- p.90
Chapter 3. --- The Leadership Mode --- p.93
Chapter a. --- The Exploratory Spirit --- p.93
Chapter b. --- Individuality and Non-Conformity --- p.96
Chapter c. --- The Authentic Self --- p.98
Chapter 4. --- The Romantic Mode --- p.102
Chapter a. --- Nostalgia for a Glorious Past --- p.102
Chapter b. --- Anarchy in the Demonic World --- p.105
Chapter c. --- Union with nature --- p.107
Chapter d. --- The Pastoral Utopia --- p.111
Chapter e. --- Fictional Characters and Objects Speaking --- p.112
Chapter 5. --- The Mythic Mode --- p.117
Chapter C. --- The World View of Rock Music --- p.120
Chapter VII. --- The Relations of Rock Music to Hegemony --- p.125
Chapter A. --- Messages of Rock and the Hegemony --- p.125
Chapter B. --- Music as a Contested Terrain --- p.130
Chapter 1. --- The Hegemonic Power: Cooptation and Marginalization --- p.130
Chapter 2. --- The Deviant Culture: Struggle by Means of adaptation and negotiation --- p.140
Chapter VIII. --- Conclusion --- p.155
Chapter IX. --- Limitations of the Study --- p.158
Chapter X. --- Future Studies on Rock Music --- p.161
Notes --- p.165
Bibliography --- p.175
Discography --- p.185
Appendix 1. The Sample of Rock Songs --- p.187
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"Exploring the spaces for a voice: the noises of rock music in China (1985-2004)." Thesis, 2006. http://library.cuhk.edu.hk/record=b6074261.
Full textAbstract:
Apart from politics and market, ideology was a significant factor in the realm of rock music. Upholding an ideology that focused on individuality and autonomy, and epousing a set of aesthetic value that placed emphases on live performance: how to maintain a balance between autonomy from politics and adaptation to market tastes became a question for both rock artists and the culture industry, a topic of which will be examined in the dissertation.At the same time, this paper examined the struggle of rock artists against the official constraints and prohibitive coding via rock lyrics, the visual, the music, the body as well as the theatrical performance.
Finally, this paper explores how rock artists and the rock industry turned to alternative spaces for projecting their causes: the Internet, the underground music network and the realm of piracy, spaces where interferences from both the state and the market were minimum.
It also took as its study why rock music was a noise in the market and how rock labels contested for a space in the market which had been plagued by piracy and lack of protection for intellectual property rights. It at the same time explored the ways rock companies attempted to make the books balanced in operating the rock music business in a market where rock fans only constituted a marginal audience.
It looked at how the government imposed control and prohibition on the publishing, performance and dissemination of rock music which it perceived as an alien noise. For this, interviews had been held with personnel from the official apparatuses, the culture industry, the mass media as well as the rock artists and musicians, in a way to understand why rock was rarely heard on the radio or performed on television; why rock music became a term rarely appeared in the official press; and why rock was not allowed to mingle with official discourse like party songs or national anthem; and in what ways the contents of songs as well as the visuals on album covers were censored; and how the government controlled the speech, acts and dress of rock artists on stage.
This paper concludes with the view that despite the many constraints encountered by rock music in the realm of both the state and the market, rock music as a cultural space did not totally lose its freedom, autonomy or integrity. It adopted a mode of communication which is hinged on the non-verbal, the second-order signification, the hidden and the symbolic. It utilised a strategy which avoids direct antagonism with the political regime, and sought outlets for its own messages and meanings.
This paper started by examining how rock music had been transformed into a genre distinguished with its ideology and aesthetics in a socialist country where politics and economy weighed equally significant.
This study took rock music as a cultural space that reflected a larger political and economic environment in China, where it had been marginalized and segregated as a noise by both the state and the market.
Wong Yan Chau Christina.
"September 2006."
Adviser: Joseph Man Chan.
Source: Dissertation Abstracts International, Volume: 68-03, Section: A, page: 0783.
Thesis (Ph.D.)--Chinese University of Hong Kong, 2006.
Includes bibliographical references.
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in English and Chinese.
School code: 1307.
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Van, der Meulen Lindy. "From rock'n'roll to hard core punk : an introduction to rock music in Durban, 1963-1985." Thesis, 1995. http://hdl.handle.net/10413/5019.
Full textAbstract:
This thesis introduces the reader to rock music in Durban from
1963 to 1985, tracing the development of rock in Durban from
rock'n'roll to hard core punk. Although the thesis is
historically orientated, it also endeavours to show the
relationship of rock music in Durban to three central themes,
viz: the relationship of rock in Durban to the socio-political
realities of apartheid in South Africa; the role of women in
local rock, and the identity crisis experienced by white,
English-speaking South Africans. Each of these themes is explored
in a separate chapter, with Chapter Two providing the bulk of
historical data on which the remaining chapters are based.
Besides the important goal of documenting a forgotten and ignored
rock history, one central concern pervades this work. In every
chapter, the conclusions reached all point to the identity crisis
experienced both by South African rock audiences and the rock
musicians themselves. The constant hankering after international
(and specifically British) rock music trends both by audiences
and fans is symptomatic of a culture in crisis, and it is the
search for the reasons for this identity crisis that dominate
this work. The global/local debate and its relationship to rock
in South Africa has been a useful theoretical tool in the
unravelling of the identity crisis mentioned above.
Chapter Four focusses on the role of women in the Durban rock
scene and documents the difficulties experienced by women who
were rock musicians in Durban. This is a small contribution to
the increasing field of womens' studies, and I have attempted to
relate the role of women in rock in Durban to other studies in
this field.Thesis (M.Mus.)-University of Natal, Durban, 1995.
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"The practice of marginality: a study of the subversiveness of Blackbird." 1999. http://library.cuhk.edu.hk/record=b5890039.
Full textAbstract:
Lee Ying Chuen.Thesis (M.Phil.)--Chinese University of Hong Kong, 1999.
Includes bibliographical references (leaves 104-110).
Abstracts in English and Chinese.
Chapter Chapter One --- Introduction --- p.6
Chapter Chapter Two --- Literature Review --- p.13
Chapter Chapter Three --- Mapping the Local Sound Scape --- p.29
Chapter Chapter Four --- Blackbird: A living Song --- p.54
Chapter Chapter Five --- Freedom of Art as Freedom of Life --Cultural Discourse as Political Activity --- p.80
Chapter Chapter Six --- Concluding Remarks --- p.95
Postscript --- p.98
Appendix --- p.101
References --- p.104
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"學習"玩": 迷笛音樂節個案研究." 2013. http://library.cuhk.edu.hk/record=b5884265.
Full textAbstract:
張武宜."2013年9月".
"2013 nian 9 yue".
Thesis (Ph.D.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 229-239).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Zhang Wuyi.