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Dissertations / Theses on the topic 'Studies and exercises (Popular music)'

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Published: 4 June 2021

Last updated: 4 February 2022

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1

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

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2

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

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This research attempts to use the creation of popular music in Okinawa as a symbolic resource to reveal attributes related to the making of identity. Popular music in non-Western societies is a useful unit of analysis that can explain how people respond to cultural change and can tell us much about cultural values. The origin of identity studies is both historical and political by nature. However, socio-cultural functions can further expand our understanding of both cultural and political resistance. Popular music as identity is not static and is always in flux. Identity addresses the ongoing relationship between the global (capitalized market) and the local (maintenance of cultural heritage). Negotiation between the two is explained through the use of imagined communities and the concept of place and space. Only through a historical, social, political and economic context is identity making fully realized. The functions of popular music are expressive behaviors which shape and are shaped by social, historical, political and economic experiences. In using the comparative method, the lyrical content and other important features of Okinawan popular music will be contrasted with other Southeast Asian studies. This research will highlight similarities, but will also reveal distinct differences between the formation of identity in both Okinawan and other Southeast Asian communities.
Thesis (M.A.)--Wichita State University, College of Liberal Arts and Sciences, Dept. of Anthropology.

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3

Camara, Samba. "Recording Postcolonial Nationhood: Islam and Popular Music in Senegal." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1510780384221502.

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4

Brocken, Michael. "The British folk revival : an analysis of folk/popular dichotomies from a popular music studies perspective." Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.266140.

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5

Theron, Marie Antoinette. "Aspekte van stemontwikkeling : 'n psigo-fisiese benadering." Thesis, Stellenbosch : Stellenbosch University, 1994. http://hdl.handle.net/10019.1/58276.

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Thesis(M. Mus.) -- Stellenbosch University, 1994.
ENGLISH ABSTRACT: The purpose of this study is to investigate the relationship between developing the voice and freeing the voice. The ultimate aim of developing the singing voice is expression through the medium of sound. For this to happen, a singer's voice has to function free and resonant. Every song demands certain expressive qualities, and the singing instrument should be able to react to a wide range of impulses. The singing instrument should be freed to enable optimal functioning, while authentically conveying powerful emotions. Developing and freeing the voice is a psycho-physical process. A person's psycho-physical functioning is manifested in body posture. As it were, the body conforms to a person's predisposition and muscle use. Muscle condition, muscle use and the singer's psychological state of mind influence the way in which sound is produced. Sensory perception, the body and breathing in balance, and the use of the body as singing instrument is discussed in chapter two. During the teaching of singing it is imperative that singers develop free habits and expectations. A process of releasing the voice is needed, because stressful habits and distorted sound-expectations have become part of the singer's performance. This inhibits expression in sound and causes the singing apparatus to operate ineffectively. The proper balance between effort and result is often disturbed. In chapter three it is pointed out that more attention should be paid to psycho-physical aspects, including psychological hindrances, the mind, motivation and body language. The teacher-pupil relationship and fear can also influence the development of the voice. In the process of freeing the voice, the Alexander technique can contribute to recognition of malfunctioning and tension in the body. A new and expanded approach to teaching and learning is needed - this will enable the singer to fully participate through thought, physical sensing, feeling and intuitive functions during teaching sessions. All these components interact with each other to support the singing process and develop good technical skills. In chapter four activities which can contribute to the freeing process of the voice and psycho-physical development are discussed. Activities used to promote the integration of all components are game playing as aid to singing development, characterisation as tool for personality and emotional development, imagery and imagination, and voice and movement. In the final chapter some conclusions and directives are given for future teaching of singing, with recommendations about areas in which more research is needed, including development of mental concepts in singing, sound and movement, and the role and influence of feeling and emotion during the singing process.
AFRIKAANSE OPSOMMING: Die doel van hierdie studie is 'n ondersoek na die verband tussen stemontwikkeling en stembevryding. Tydens sangstemontwikkeling is die uiteindelike doelwit ekspressie - om deur middel van klank uitdrukking te kan gee. Om dit te laat gebeur moet 'n sanger se stem vry en resonant klink. Elke lied stel sekere vereistes ten opsigte van uitdrukking en die sangapparaat behoort te kan reageer op 'n verskeidenheid van impulse. Die sangapparaat moet vry wees om optimaal te funksioneer en kragtige emosies getrou te verklank. Stemontwikkeling en stembevryding is 'n psigo-fisiese proses. Liggaamshouding IS 'n uiting of manifestasie van die mens se psigo-fisiese funksionering. Die liggaam neem as 't ware die vorm van die persoon se ingesteldheid en spiergebruik aan. Die toestand van spiere, die funksionering van spiere en die persoon se psigiese toestand het 'n invloed op die klank. Sensoriese waarneming, die liggaam en asemhaling in balans en die gebruik van die liggaam as sanginstrument word in hoofstuk twee bespreek. In sangonderrig is dit noodsaaklik dat sangers vrye gewoontes en verwagtinge sal ontwikkel. In Bevrydingsproses is dus nodig omdat spanningsvolle gewoontes en verwronge klankverwagtinge deel geword het van die sanger se denkwyse as gevolg van wanbegrippe oor sang. Dit inhibeer klankuitdrukking en laat die sangapparaat oneffektief funksioneer. Die korrekte verhouding tussen inspanning en resultaat is dikwels versteur. In hoofstuk drie word aangetoon dat in sangonderrig meer aandag gegee behoort te word aan psigo-fisiese aspekte, waaronder psigiese blokkerings, die denke, motivering en liggaamstaal. Ook die onderwyser-sanger-verhouding en vrees kan stemontwikkeling beinvloed. In die stembevrydingsproses kan lesse in die Alexandertegniek heelwat bydra tot die herkenning van wanfunksionering en spanning in die liggaam. 'n Nuwe en uitgebreide benadering tot onderrig en leer is dus wenslik, sodat die sanger tydens sangonderrig in sy totaliteit betrek kan word in sy denk-, fisiessintuiglike, gevoels- en intultiewe funksies. Al hierdie komponente werk interafhanklik saam om die sangproses te onderhou en goeie tegniese vaardighede te laat ontwikkel. In hoofstuk vier word aktiwiteite bespreek wat kan help met stembevryding en psigofisiese ontwikkeling. Die aktiwiteite wat integrasie van alle komponente bevorder, sluit in spel as hulpmiddel vir sangontwikkeling, karakterisering as middel tot persoonlikheids- en emosionele ontwikkeling, beeldingspel en verbeelding, en stem en beweging. In die finale hoofstuk word gevolgtrekkings en rigtingwysers vir toekomstige sangonderrig gemaak, met aanbevelings oor areas waaroor meer navorsing nodig is soos denkontwikkeling vir sangers, stem en beweging, en die funksionering en invloed van gevoel en emosie tydens die sangproses.

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6

Hesmondhalgh, David. "Independent record companies and democratisation in the popular music industry." Thesis, Online version, 1996. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.243541.

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7

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

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8

Liu, Menghan. "Rephrasing Mainstream And Alternatives: An Ideological Analysis Of The Birth Of Chinese Indie Music." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1351367197.

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9

Ha, Jarryn. "My Song is My Power: Postcolonial South Korean Popular Music." Case Western Reserve University School of Graduate Studies / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=case1522941303946503.

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10

Gervin, Kelly J. "Music and Environmentalism in Twenty-First Century American Popular Culture." Bowling Green State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1494162797534902.

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11

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

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12

Johnson, Eric David. "Crossover narratives: intersections of race, genre and authenticity in unpopular popular music." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/2904.

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This thesis analyzes the construction of racialized notions of authenticity within American popular musical genres across the span of the 20th Century, but especially from a crucial period between the years 1938 and 1965. In these pages I argue that the discursive construction of genres is a narrative act, one intended to provide symbolic resolution to real and felt dilemmas in people's lives. My first chapter focuses on the singer, Nat "King" Cole, arguing that the retrospective construction of the rock and roll genre as an example of a hybrid or crossover musical from by critics in the late 1960s and early 1970s helped fix in the popular imagination a notion of "authentic black music" which effectively marginalized Cole, an important African American musician whose musical style was at odds with this critical construction of racial style. My second chapter argues that jazz trumpeter John Birks "Dizzy" Gillespie's efforts to combine African American and Afro-Caribbean musical forms included a strategic discursive crafting of a narrative of origins which placed jazz as an expression of musical Afro-internationalism. My third chapter argues that critics and audience involved in the blues revival of the early 1960s reconstructed what had been a female-dominated African American popular form as a kind of unpopular popular music: music distinguished in the marketplace by its supposed transcendence of the marketplace via its vernacular roots, and as a musical form dominated by the male figure of the rural bluesman. In conclusion I argue that these efforts to narrate authentic and anti-capitalistic origin for and expressions of popular, commercial forms reveal, within the American public imagination, deep-seated anxieties about the gulf between the cultural influence of African American music and the social and political situation of African American citizens, and, on another level, anxieties about the contradictions inherent in the experience of transcendent pleasure through commercial musical forms.

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13

Smith, Erin Sweeney. "Popular Music and the New Woman in the Progressive Era, 1895-1916." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1459782310.

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14

Curran, Kieran. "Cynic sensibility in British popular literature and culture, 1950 to 1987." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9494.

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In my thesis, I focus on delineating 'The Cynic Sensibility' in British Popular Literature and Culture (1950-1987). Focusing primarily on literature and music (and, to a lesser extent, cinema/television), this works seeks to write a cultural history through analysing cultural texts. The sensibility has three key characteristics: I) it is a Bohemian sensibility; ii) it is apolitical, in that it does not endorse any political alternative to the status quo at any given time, and iii) it is popular, and exists across traditional high/low cultural lines. Connected to this last point is a tendency to oppose stylistic Modernism and its attendant obscurities. Underpinning my thesis are the work of the philosopher Peter Sloterdijk on cynicism as a philosophical phenomenon, and the cultural theory of Raymond Williams. Using this approach, I seek to not only connect spheres of culture which hitherto have been kept separate, but to provide a different insight into 20th century British cultural history.

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15

Longoria, Edna A. "Carlos Chavez, Gabriela Ortiz, and Edna A. Longoria| Evolving methods of incorporating indigenous and popular Mexican music." Thesis, California State University, Long Beach, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=1571461.

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This paper examines the evolving methods of incorporating indigenous and popular Mexican music since the Nationalistic period in México. This project report also shows how the integration of Mexican folk music in Mexican composers' works has changed throughout the years. This paper analyzes the compositions Sinfonía india written by Carlos Chávez and ¡Únicamente la verdad! written by Gabriela Ortíz. This paper also analyzes "Tezcatlipoca, A Sacrifice Dance," a chamber orchestra work by myself, a Mexican-American student composer. "Tezcatlipoca, A Sacrifice Dance" incorporates Mexican folk music as well as Carlos Chávez, Gabriela Ortíz and many other Mexican composers.

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16

Lee, Wonseok. "Diversity of K-Pop: A Focus on Race, Language, and Musical Genre." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1526067307402648.

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17

Chapa, Danny. "Preparing selected wind band euphonium audition materials through the use of etudes." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc849617/.

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Etudes have been composed to address the primary challenges found in ten selected euphonium wind band pieces. Each work was chosen based on its frequency of occurrence in military band auditions as well as its appearance in excerpt books and journal articles. Practice drills, practice variations, and overtraining studies are the primary concepts used for composing each etude. List of selected works: (1) Roman Carnival Overture Op. 9, Hector Berlioz; (2) First Suite in E-flat for Military Band Op. 28 No. 1, Gustav Holst; (3) Barnum and Bailey's Favorite, Karl King; (4) The Melody Shop, Karl King; (5) Aegean Festival Overture, Andreas Makris arr. Albert Bader; (6) Theme and Variations Op. 43 A, Arnold Schoenberg; (7) Festive Overture Op. 96, Dmitri Shostakovich arr. Donald Hunsberger; (8) Festival Variations, Claude T. Smith; (9) The Stars and Stripes Forever, John Philip Sousa; and (10) Suite from the Ballet: Pineapple Poll, Arthur Sullivan arr. Charles Mackerras.

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Boateng, Samuel. "POPULAR MUSIC IN GHANA: WOMEN AND THE CHANGING PERSPECTIVES ON GENDER AND SEXUALITY." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1466179979.

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19

Young, Michael A. "Cultural performances of German national identity| Popular music, body culture, and the 2006 FIFA World Cup." Thesis, Indiana University, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1535413.

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This thesis explores the intersection of nationalism, popular music, and sport as they collided with German identity politics and discourses of twentieth-century history. I contextualize public performances of German national identity during the 2006 World Cup within the broader historical context of national identity construction through music and sport in the last two hundred. I contextualize Germans' public performance of national pride and hospitality during the World Cup as the latest in a long line of cultural performances of German identity that have shaped and been shaped by historical circumstances and socially conditioned discourses of national identity. Taking a broad historical and conceptual perspective on cultural performance, I argue that cultural performances of German national identity—communicated in music, sport, and visual symbolism in the public landscape (i.e., through the use of posters, ads, popular press, etc)—have been tailored to and contingent on the social and discursive exigencies of particular historical and political junctures of the past two hundred years. Likewise, cultural performances during the 2006 World Cup must be seen as particular to twenty-first-century German society. Analyzing the Germans' public performance of national identity as well as popular songs and their audio-visual texts (i.e., music videos), I argue that some supposedly nationalist performances of German identity gained traction and popular support during the World Cup because of the strong role played by popular music and sport in framing the terms of their performance and interpretation.

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Jiang, Xinxin. "Whose Voice?: A Critical Analysis of Identity, Media, and Popular Music in The Voice of China." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1530233479992508.

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au, m. jennings@murdoch edu, and Mark Jennings. "Realms: A Phenomenological, Socio-Cultural and Theological-Religious Studies exploration of Musical Space." Murdoch University, 2009. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20100421.135501.

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This thesis sets out to explore the ways people use and interpret experience of music, the divine and interaction with other people within discrete musical spaces. This exploration takes place in two sites: a Pentecostal church in suburban Perth, Western Australia, and the West Coast Blues & Roots festival, a well known music festival held annually in Fremantle, Western Australia. I have nominated these two sites as realms because they are spaces set up for the performance and experience of music. My primary questions about these sites relate to how people interact with music, each other and the divine within these realms. This study combines socio-cultural and theological-religious studies theories to illuminate the processes, experiences and interpretations occurring within these musical realms. This has important implications for understanding how people use and interpret music in relation to the world outside the musical realm. People use these experiences to dream and imagine the shape of ideal relationships and communities with each other and the divine presence, and to escape and transform the world outside the musical realm. In this thesis I compile data from participant observation and in-depth interviews at both sites, as well as published interviews with performers. I construct two case studies of the sites, portraying a day in the life of a participant in both realms. For each case study I outline ten different interpretive paradigms, five from socio-cultural theorists and five from theology and religious studies. I analyse the data using the phenomenological method, taking a component of data from the fieldwork and comparing and contrasting it with theory. At the end of each chapter I summarise the process and make some remarks relating to the implications of the study. The resulting work makes important contributions to understanding how socio-cultural studies and theological-religious studies can work together in an interdisciplinary fashion to illuminate phenomena. The study sheds light on the nature of musical realms, as well as proto-religious phenomena and methodological agnosticism. Further, this work presents useful contributions into the ways churches may understand and interact with spiritual experience that occurs outside of religious settings. Finally, performers and artists and community workers will benefit from the conclusions of this study on the ways in which people use music and realms to escape, transform and imagine community and society.

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Burchfield, Rebekah Lynn. "Pressed between the Pages of My Mind: Tangibility, Performance, and Technology in Archival Popular Music Research." Bowling Green State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1277073992.

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23

Mcdowell, Michael A. "Heavy South: Identity, Performance, and Heavy Music in the Southern Metal Scene." Scholar Commons, 2016. http://scholarcommons.usf.edu/etd/6319.

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The Southern Metal scene depends heavily on the performance of a Southern Identity. While considerable research has been done on other musical genres and scenes from the American South (country music, blues, gospel music), less attention has been given to the extreme metal scene of Southern Metal. Using scholarship of Nadine Hubbs, Philip Auslander, Jefferey C. Alexander, and Keith Kahn Harris, among others, I analyze two films, Slow Southern Steel (2010) and NOLA: Life, Death, and Heavy Blues from the Bayou (2014), and one song, Down’s “Eyes of the South” as cultural productions of this Southern Metal scene. In this project, I define the musical elements and scene ethos of Southern Metal as they relate to a wider, more mainstream American audience and describe how these identities and cultural forms are produced, negotiated, and embodied.

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24

Herring, Judith Ann. "A guide to intermediate-level flute concerti." Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/487502.

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There exists a substantial lack of familiarity among flute teachers and music educators with extant publications of pertinent pedagogical flute repertoire at the intermediate level, specifically the concerto. Although readily available, suitable concerti for the important progression of the student from intermediate to the advanced level are often substituted with works too difficult technically and musically. In many situations, introduction and exposure to the concerto genre is virtually overlooked. Therefore, progression from an intermediate to an advanced level is often hampered, and a vital phase in the student's technical and musical development is neglected.This guide to intermediate-level concerti provides a systematic, methodical approach to the teaching of four concerti appropriate technically and musically for the established level of playing. The historical eras Baroque, Classical, Romantic, and Twentieth Century are each represented by one concerto.Chapters II, III, IV, and V provide a description of the concerto's evolution during the particular historical era specified. This examination is followed by a brief biographical sketch of the composer whose work is being discussed. The significance of each concerto in the composer's output is provided when such information is available. A list of all current and accessible editions is provided along with information about individual editors. An editorial paleography is supplied when more than one edition exists. Each of these four chapters concludes with a formal analysis of the concerto under discussion.Chapter VI provides a plan for the teaching and performing of each concerto. This plan is divided into two headings. The first is a didactic analysis of the following technical considerations: alternate fingerings, arpeggiated passages, double tonguing, meter, rhythmic patterns, and trills. Parallel etudes drawn from existing flute literature and original exercises by the writer are supplied. The second major area of discussion within the pedagogical analysis comes under the heading of the following interpretative considerations: articulation, breathing/phrasing dynamics, ornamentation, and tempo.The final chapter of the work includes a summary, conclusions, and recommendations. Three appendices contain moderately easy to intermediate, and intermediate to moderately difficult flute concerti as well as a publisher and agent code list.

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Rogers, Katherine Linn. "The Sounds of "Pac-Man Fever": Intersections of Video Game Culture and Popular Music in America." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1559848783170242.

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26

McKenna, Libby. "Audience interpretations of the representation of women in music videos by women artists." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001670.

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Young, Sade Marie. "SOUTHERN-PLAYALISTIC-HIPHOP-SPACESHIP-MUSIC." Bowling Green State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1305583004.

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Chen, Szu-Wei. "The music industry and popular song in 1930s and 1940s Shanghai : a historical and stylistic analysis." Thesis, University of Stirling, 2007. http://hdl.handle.net/1893/202.

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In 1930s and 1940s Shanghai, musicians and artists from different cultures and varied backgrounds joined and made the golden age of Shanghai popular song which suggests the beginnings of Chinese popular music in modern times. However, Shanghai popular song has long been neglected in most works about the modern history of Chinese music and remains an unexplored area in Shanghai studies. This study aims to reconstruct a historical view of the Shanghai popular music industry and make a stylistic analysis of its musical products. The research is undertaken at two levels: first, understanding the operating mechanism of the ‘platform’ and second, investigating the components of the ‘products’. By contrasting the hypothetical flowchart of the Shanghai popular music industry, details of the producing, selling and consuming processes are retrieved from various historical sources to reconstruct the industry platform. Through the first level of research, it is found that the rising new media and the flourishing entertainment industry profoundly influenced the development of Shanghai popular song. In addition, social and political changes and changes in business practices and the organisational structure of foreign record companies also contributed to the vast production, popularity and commercial success of Shanghai popular song. From the composition-performance view of song creation, the second level of research reveals that Chinese and Western musical elements both existed in the musical products. The Chinese vocal technique, Western bel canto and instruments from both musical traditions were all found in historical recordings. When ignoring the distinctive nature of pentatonicism but treating Chinese melodies as those on Western scales, Chinese-style tunes could be easily accompanied by chordal harmony. However, the Chinese heterophonic feature was lost in the Western accompaniment texture. Moreover, it is also found that the traditional rules governing the relationship between words and the melody was dismissed in Shanghai popular songwriting. The findings of this study fill in the neglected part in modern history of Chinese music and add to the literature on the under-explored musical area in Shanghai studies. Moreover, this study also demonstrates that against a map illustrating how musical products moved from record companies to consumers along with all other involved participants, the history of popular music can be rediscovered systematically by using songs as evidence, treating media material carefully and tracking down archives and surviving participants.

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Silvio, Carl. "The institutional production of literary value studies of African-American popular music lyrics and the avant-garde /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2061.

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Thesis (Ph. D.)--West Virginia University, 2001.
Title from document title page. Document formatted into pages; contains iii, 310 p. Includes abstract. Includes bibliographical references (p. 301-310).

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McPeake, Zoe. "Our Bodies Aren't Wonderlands : Disenchanting the MIS(sing)Representation of Women in Popular Music." Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/38093.

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Through an intersectional feminist lens using Critical Discourse Analysis, this thesis investigates the representations of four prominent women, their embodiments and their sexualities in the lyrics of their songs.

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31

Bernhagen, Lindsay M. "Sounding Subjectivity: Music, Gender, and Intimacy." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365258753.

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32

Corbett, Stacy Shayne. "Using popular song lyrics to teach character and peace education." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3246.

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33

Vermorel, Fred. "Biography & identity, celebrity & fanhood : researching intersections of avant-garde and popular culture." Thesis, Kingston University, 2011. http://eprints.kingston.ac.uk/22495/.

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This PhD by publication critically reviews the background, context, and reception of work published from 1978-2008. The work surveyed, comprises popular music biography, texts on art school influenced bohemia and counterculture, and on celebrity and fan culture. The social and cultural context of the work is mapped and methodological and stylistic issues addressed. The origins of the punk aesthetic through the Sex Pistols is charted. The turn in celebrity studies towards a "fan culture" based approach is demonstrated by the publication of 'Starlust' in 1985. Subsequent work on "fan culture" is discussed. Issues relating to researching and theorising popular culture and cultural and design history are debated. Extracts from the publications cited are provided.

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34

Boone, William. "The Beautiful Struggle: an Analysis of Hip Hop Icons, Archetypes, and Aesthetics." Diss., Temple University Libraries, 2008. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/21145.

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African American Studies
Ph.D.
Hip hop reached its thirty-fifth year of existence in 2008. Hip hop has indeed evolved into a global phenomenon. This dissertation is grounded in Afro-modern, Afrocentric and African-centered theory and utilizes textual and content analysis. This dissertation offers a panoramic view of pre-hip hop era and hip hop era icons, iconology, archetypes and aesthetics and teases out their influence on hip hop aesthetics. I identify specific figures, movements and events within the context of African American and American folk and popular culture traditions and link them to developments within hip hop culture, discourse, and aesthetics. Because hip-hop emerged as an American phenomenon, I examine pre-hip hop American popular culture in the twentieth century such as America's World's Fairs, superhero mythology, popular culture iconography, etc. and illustrate the ways in which they served as cultural, social and historical precursors to hip hop aesthetics. Chapter 1 provides an introduction, which includes a definition of terms, statement of the problem and literature review. It also offers a perfunctory discussion of hip hop as culture. Chapter 2 examines pre-hip hop era African-American and American iconography, iconology and archetypes and the subcultures that spawned them (e.g. sports culture, comic super hero narratives, westerns, and the culture of capitalism, etc.). I explore early twentieth century popular culture, iconography, and manhood, and link them to hip-hop aesthetics. Lastly, this chapter identifies Afrocentric cross-currents within hip hop culture, which I describe as the post-Afrocentric movement in hip hop culture, and illustrate the ways in which hip hop culture grappled with the efficacy and viability of Afrocentric motifs, theory and aesthetics Chapter 3 offers a comparative analysis of blues and hip hop aesthetics. I explore gender dynamics within the context of inter-genre, call-and-response between male emcees and female neo-soul artists. Chapter 4 traces the development of hip-hop aesthetics and draws on African, American and African-American cultural practices to analyze its development. I focus on early characteristics of hip-hop culture, which are foundational components of hip-hop expression such as the influence of comic book super hero narratives. Hip-hop aesthetics are an amalgamation of post-modern, post-industrial, urban blues sensibilities filtered through African-American musical traditions. I utilize Bakari Kitwana's conceptualization of the hip hop worldview as a basis for highlighting hip hop attitudes, aesthetics, and expectations. Lastly, chapter 4 expands upon previous socio-economic discussions on hip hop culture with a focus on hip hop aesthetics and expression. In chapter 5, I identify specific pre-hip hop icons and their influence on hip-hop aesthetics. I examine the significance of the selection of these icons and their relevance to hip-hop aesthetics. This chapter explores hip-hop iconography, iconology and archetypes. I explore the significance of specific icons and archetypes within hip-hop culture and examine the socio-historical, political, and cultural implications of their selection. Icons and archetypes are integral parts of African, African-American, and American culture. I illustrate how these cultural origins are reflected within hip-hop's engagement of American popular culture icons. I also identify more recent hip hop icons and archetypes (e.g. the hater and gold digger), which operate as signifiers in hip hop narratives and aesthetics. Chapter 6 identifies specific characteristics of hip hop expression. I examine black male identity construction as it relates to hip-hop aesthetics and archetypal influences, particularly notions of 'bad" and "cool" within hip-hop culture. Perhaps more than any other African-American archetype, the badman/bad nigga archetype has survived within African-American male narratives. I explore the evolution of bad within hip hop aesthetics and offer a cultural analysis of 1984, identifying specific icons (e.g. Run-DMC), attitudes, values and trends that shaped both hip-hop culture and American popular culture. 1984 is an ideal site by which to examine the interface between race, class, sex, politics, American violence, technology, and pop culture. I examine specific cross-currents within 1980s American popular media and explore the ways in which hip hop narratives and aesthetics reappropriate and engage specific popular culture texts. I assert that not only was the framework for hip-hop aesthetics were solidified during the early 1980s, but also the framework for a new popular culture discourse effected by shifts in public policy concerning public space, racial representations and an emerging global market culture. I identify key figures, icons, archetypes, and popular media, circa 1984, and their influence on hip hop aesthetics and discourse.
Temple University--Theses

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Gómez, Sobrino Isabel. "Poesia hecha cancion: adaptaciones musicales de textos poeticos en España desde 1960 hasta el 2010." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1367937390.

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MacDonald, Weeks Kelly C. "Parrotheads, Cheeseburgers, and Paradise: Adult Music Fandom and Fan Practices." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1339789103.

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Ward, Megan. "When Love Cries: Popular 1980's Love Songs Examined Through Intimate Partner Violence." University of Akron / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=akron1396889008.

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McCluskey, John M. "Music as Narrative in American College Football." UKnowledge, 2016. http://uknowledge.uky.edu/music_etds/57.

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American college football features an enormous amount of music woven into the fabric of the event, with selections accompanying approximately two-thirds of a game’s plays. Musical selections are controlled by a number of forces, including audio and video technicians, university marketing departments, financial sponsors, and wind bands. These blend together in a complex design that offers audible and visual stimulation to the audience during the game’s pauses. The music chosen for performance in these moments frequently communicates meaning beyond entertainment value. Selections reinforce the game’s emotional drive, cue celebrations, direct specific audience actions, and prompt behaviors that can directly impact the game. Beyond this, music is performed to buttress the successes of the home team, and to downplay its failures. As this process develops over the course of the game, the musical selections construct a sonic narrative that comments on the game’s action, enhancing or suppressing audience members’ emotional reactions to the events on-field, and informing their understanding of the game’s developments. By preparing for and responding to in-game situations, music creates a coherent narrative out of football’s unpredictable events. This project demonstrates the use of musical narrative in American college football via close consideration of case studies of games representing five of the most prominent college athletic conferences, the Atlantic Coast Conference, the Big 10, the Big 12, the Pac 12, and the Southeastern Conference. These sources include interviews with college football’s musical agents, including sound operators, band directors, and producers, as well as documentation of the games’ on-field developments and the music that accompanies them. Finally, this project utilizes of musical narrative as a new means of critically considering the power lines of race and gender in college football culture.

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Davidson, Adam. "Performing "Hurt" : Aging, Disability, and Popular Music as Mediated Product and Lived-Experience in Johnny Cash's Final Recordings." Scholar Commons, 2018. http://scholarcommons.usf.edu/etd/7139.

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Sitting at a rarely examined intersection between aging, disability, and popular culture, this project explores how the aging body becomes the disabled body in the context of popular music. In what follows, I trouble the distinction between bodies and mediation, between lived-experience and cultural product, and I argue that the voice of the aging artist engages with his lived-experience even as he performs socially-constructed conceptions of aging and disability. I read Johnny Cash’s 2002 cover of Trent Reznor’s “Hurt” on American IV: The Man Comes Around as a performance of the singer’s age and disabled condition. Through pain- saturated lyrics, music filled with unresolved tension, a damaged voice, and a video that puts his aged body on display, Cash performs a disability script that presents his age and personal health as disabling burden. I explore how country music, Cash’s performance past, and strategies pursued by his producer, Rick Rubin, all contribute to a performance that is both successful popular song and a manifestation of the singer’s declining condition. The project invites subsequent explorations of the intersection of age and disability in popular music, and highlights several artists whose voices and performances of old age and disability demand attention. The project aligns with an interactive approach to disability research, breaking down the dialectic between social and individual priorities in disability studies and foregrounding how each influence the overall performance.

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Perry, Robyn Paige. ""Ersatz as the Day is Long": Japanese Popular Music, the Struggle for Authenticity, and Cold War Orientalism." Bowling Green State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1617205969493365.

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Zheng, Yu. ""The Screaming Successor": Exploring the Chinese Metal Scene in Contemporary Chinese Society (1996-2015)." Bowling Green State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1479453595002855.

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Truelsen, Kris R. "“The Great Speckled Bird”- Early Country Music and the Popularization of Non-Secular Song." Digital Commons @ East Tennessee State University, 2015. https://dc.etsu.edu/etd/2547.

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Perhaps no melody in the country music canon has been as widely recognized and borrowed from as that of the song “The Great Speckled Bird.” This significant song has become resonant and representative of both country music culture and religious culture of the Protestant South. Through this historiographical study, I have traced the influences that helped shape “The Great Speckled Bird” and in so doing have illustrated distinct movements that led to popularizing the non-secular song through commercial country music. The composer’s use of sentimentality, neo- traditionalism, and religious ideas made it appealing to a rural southern culture struggling with the social, racial, and economic changes of the early twentieth century. As I develop and explore the diverse influences that helped to shape “The Great Speckled Bird,” I will illustrate the interconnectedness of country music culture and the wider popular and religious cultures of the white Protestant South.

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Arthurs, Thomas. "Secret gardeners : an ethnography of improvised music in Berlin (2012-13)." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/20457.

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This thesis addresses the aesthetics, ideologies and practicalities of contemporary European Improvised Music-making - this term referring to the tradition that emerged from 1960s American jazz and free jazz, and that remains, arguably, one of today's most misunderstood and under-represented musical genres. Using a multidisciplinary approach drawing on Grounded Theory, Ethnography and Social Network Analysis, and bounded by Berlin's cosmopolitan local scene of 2012-13, I define Improvised Music as a field of differing-yet-interconnected practices, and show how musicians and listeners conceived of and differentiated between these sub-styles, as well as how they discovered and learned to appreciate such a hidden, 'difficult' and idiosyncratic art form. Whilst on the surface Improvised Music might appear chaotic and beyond analysis in conventional terms, I show that, just like any other music, Improvised Music has its own genre-specific conventions, structures and expectations, and this research investigates its specific modes of performance, listening and appreciation - including the need to distinguish between 'musical' and 'processual' improvisatory outcomes, to differentiate between different 'levels' of improvising, and to separate the group and personal levels of the improvisatory process. I define improvised practices within this ifeld as variable combinations of 'composed' (pre-planned) and 'improvised' (real-time) elements, and examine the specific definitions of 'risk', 'honesty', 'trust', and 'good' and `bad' music-making which mediate these choices - these distinctions and evaluatory frameworks leading to a set of proposed conventions and distinctions for Improvised Music listening and production. This study looks at the representation of identity by improvising musicians, the use of social and political models as analogies for the improvisatory process (including the interplay between personal freedom of expression and the construction of coherent collective outcomes), and also examines the multiple functions of recording, in a music that was ostensibly only meant for the moment of its creation. All of this serves to address several popular misconceptions concerning Improvised Music, and does so directly from the point of view of a large sample of its most important practitioners and connoisseurs. Such findings provide key insights into the appreciation and understanding of Improvised Music itself (both for newcomers and those already adept in its ways), and this thesis offers important suggestions for scholars of Musicology, Ethnomusicology, Sociology of Music, Improvisation Studies, Performance Studies and Music/Cognitive Psychology, as well as for those concerned with improvisation and creativity in more general, non-musical, terms.

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Ahern, Sean Xavier. "The Clash and Mass Media Messages from The Only Band That Matters." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1340661045.

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Van, Zyl Lionel. "A critical investigation of the effectiveness of warm-ups as technical exercises for the improvement of choral tone : a case study of the Eastern Cape Children's Choir." Thesis, Nelson Mandela Metropolitan University, 2006. http://hdl.handle.net/10948/634.

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This is a research project based on the author’s experience of more than 20 years as conductor of the Eastern Cape Childrens Choir. It investigates the effectiveness of technical exercises - with special reference to selected “warm-up” exercises - in creating a superior choral tone in the children’s choir. The investigation is motivated by the fact that it is an ongoing challenge to effectively overcome problems with intonation and poor choral tone, problems which are mostly caused by lack of attention to pure vowel formation. Toward this end, a practical “tool box” of vocal exercises for the children’s choir is ultimately proposed. The toolbox is based on one single exercise with different variations. Each variation is designed to address multiple vocal needs and to correct vocal production during singing. In this manner a great many technical aspects are covered with the simplest of means and in the shortest possible time, bearing in mind that the rehearsal session allows limited time to focus on such matters to the exclusion of all else.

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Campos, Claudio Henrique Altieri de. "Subindo a serra: Banda Mantiqueira." Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/27/27157/tde-07052009-154924/.

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A presente dissertação tem como objetivo estudar o conjunto brasileiro Banda Mantiqueira, sua trajetória histórica e musical, sua produção artística e a elaboração de seu discurso musical, abrangendo o período que se estende do início dos anos 1990 até a atualidade. O primeiro capítulo volta-se para os precursores históricos da Mantiqueira. No capítulo 2, são apresentadas informações memoriais e historiográficas sobre a biografia de alguns de seus integrantes, bem como o surgimento, amadurecimento e consolidação do grupo. O terceiro capítulo propõe um mergulho no material musical produzido pela banda buscando, além da análise individual das performances de seus arranjos, um diálogo com as versões originais e/ou anteriores do repertório selecionado para estudo. Ao longo da última seção, são discutidas questões referentes às opções estéticas e poéticas assumidas pela Banda Mantiqueira.
The goal of this current dissertation is to study the Brazilian Group Banda Mantiqueira, its musical and historical path, its artistic production and the development of its musical discourse from the beginnings of 1990 until nowadays. The first chapter is dedicated to the historical forerunners of Mantiqueira. The second chapter displays historical and mnemonical data about some of its members as well as its appearance, maturation and consolidation. The third chapter proposes a diving into the works produced by the band including, besides the analysis of its individual performances, a dialogue between them and the older versions of the repertoire chosen for this study. Throughout the last section it will be discussed the aesthetical and poetical options taken by the Banda Mantiqueira.

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Li, Belinda. "Folk Songs and Popular Music in China: An Examination of Min’ge and Its Significance Within Nationalist Frameworks." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/pomona_theses/162.

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This thesis examines the function of music within different theories of nationalism and the appropriation of folk music within the genre of min’ge. Min’ge, a term in Chinese which directly translates to “folk songs”, has generally been defined as oral musical traditions. However, due to the increased politicization of popular music since the 1930s, the nature folk music has fundamentally changed, reflecting its new significance within Chinese nationalism. Through the years, min’ge has become more useful to promoting the goals of the state than representing the musical traditions of the many different ethnic groups in China. This transformation has established min’ge as an important extension of the Chinese Communist Party’s (CCP) cultural policy, and the manipulation of folk music has asserted the CCP’s cultural hegemony. Ultimately, this cultural hegemony has important implications on Han-minority relations and highlights certain dynamics within Chinese nationalism. Despite its limited and distorted representation of minorities, however, the popularization of min’ge has also inspired minority musicians to reclaim their identities through music. Therefore, this paper explores both the cooptation and contestation of state-promoted identities through the medium of popular folk music.

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Poteet, Maddison Jade. "Queer in Fandom: A Uses and Gratifications Analysis of the Katy Perry Fan Community on Twitter." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1752359/.

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Online fandom communities exist as a hub of subcultural construction for people across the globe. For queer people, fandom represents a space to safely converge over mutual interests. Previous research has focused on queer fans and popular music fans independently, often taking a pathological approach. This study qualitatively examines queer participants in the Katy Perry fandom through surveys and one-on-one interviews. The theoretical backbone of the study is built around uses and gratifications theory, seeking to understand motivations for fandom participation. The concepts of the heteronormative matrix and queer resistance are additionally incorporated to analyze how LGBTQ+ fans combat societal norms. This research found seven motivations for queer fans to participate in online fandom, providing insight into an understudied community.

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Humphrey, Ashley Renee. "Where's the Roda?: Understanding Capoeira Culture in an American Context." Bowling Green State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1543574890650575.

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Schlotterbeck, Jesse Keith. "The popular musical biopic in the post-studio era: four approaches to an overlooked film genre." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3530.

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The mid-2000s saw a surge in the popularity of musical biopics: films such as Ray (2004) which tell the story of a star musician. While academic studies have addressed biopics treating classical and jazz composers, the popular musical biopic (encompassing blues, folk, pop, country, rap, and rock) is not only the least studied subtype of the musical biopic, but the most profitable and frequently made. I analyze four different aspects of the musical biopic that illustrate its significance: Chapter One addresses the musical biopic in the context of the post-studio era entertainment industry. I study A Hard Day's Night as a film which reconciles artistry with the commercial imperative of cross-promotion. Chapter Two surveys the increased presence of minority entertainers in post-studio era musical biopics, covering films featuring African American musicians, as well as films which pair a black mentor with a white musician or producer. Chapter Three examines the relationship between storytelling, particularly the portrayal of love relationships, and song performances. I find in that the post-studio era musical biopic often reconciles narrative structures inherited from the classical Hollywood musical with post-classical film styles. Chapter Four, a psychoanalytic study of the contemporary musical biopic, theorizes the genre's turn to the representation of flawed and scandalous subjects.

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