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Showing 71 to 78 of 78 (0.038 seconds)Spelling suggestions: "subject:"[een] POP MUSIC"" "subject:"[enn] POP MUSIC""
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Processo de criação da música pop e expansão dos registros de processo: o caso Let it Be - The BeatlesCappellano, Ana Paula 31 May 2010 (has links)
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Previous issue date: 2010-05-31 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The following dissertation intends to investigate the creative process of pop music from the study of the audiovisual format as a musical creative process register, the documentary film and the making of in particular. Relations and interactions between the music created in the music industry dynamics and the culture of the image, as well as with the expansion of the registers and documents of process of music, from the eletronic record to the video, are established. Pop music refers to that of the Culture Industry, of media insertion, especially mass media, such as the radio, the cinema and the television, and their production is seen as a wide creative network. The documentary Let it Be, by the British group The Beatles, filmed in 1969 and released in 1970, was chosen as case study and, from the processes critique approach and based on the theories of the work of art creative networks, by Cecília Almeida Salles, it is understood as register and index of the collective process of creation of the band. The movie is considered, from this perspective, a precursor of the audiovisual format known today as the making of and, based on their critical analysis, different moments and points of tension are recognised during the creation and recording of an album, nods of the pop music network. We seek to understand how the interactions among their members, the creative subjects, as well as with external factors to that specific process, characterized the collective process of creation of the group at that stage of their career / A seguinte dissertação pretende investigar o processo de criação da música pop a partir do estudo do formato audiovisual como registro de processo de criação musical, em particular, o gênero cinematográfico documentário e o formato audiovisual making of. São estabelecidas relações e interações entre a música criada na dinâmica da indústria fonográfica e a cultura da imagem, bem como com a expansão dos registros e documentos de processo da música desde a gravação eletrônica até o vídeo. Denomina-se música pop aquela da Indústria Cultural, de inserção nas mídias, especialmente as de massa, como o rádio, o cinema e a televisão e sua produção é vista como uma grande rede criativa. O documentário Let it Be, do grupo britânico The Beatles, filmado em 1969 e lançado em 1970, foi escolhido como estudo de caso e, a partir da abordagem da crítica de processos e da teoria das redes de criação da obra de arte, de Cecília Almeida Salles, é entendido como registro e índice do processo de criação coletivo da banda. O filme é considerado, nesta perspectiva, um precursor do formato audiovisual hoje denominado making of e, a partir da sua análise crítica, são reconhecidos diferentes momentos e pontos de tensão durante a criação e gravação de um álbum, nós das redes de criação da música pop. Procura-se entender como as interações entre seus integrantes, os sujeitos criativos, bem como com fatores externos àquele processo específico, caracterizavam o processo de criação coletivo da banda naquele ponto da carreira
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部落傳唱的新聲響——九零年代台灣原住民流行音樂的形成與展開 / The New Sounds of the Original Singing Songs: the Forming and Development of the Aboriginal Pop-Music in Taiwan’s 90s呂紹凡, Lu, Shao-Fan Unknown Date (has links)
「音樂」或「歌」在台灣原住民的生活中有著特殊的文化位置，在「原住民文學」發展之際也屢屢成為難以分割的元素，而在書面文字以外龐大的原住民口傳文學中，音樂或歌曲更是有著舉足輕重的地位。在歌手巴布狄倫（Bob Dylan）獲頒諾貝爾文學獎的今日，不但代表了歌曲文本在俗文學與典範文學中的壁壘再度被挑戰，「流行音樂」所牽扯到的全球架構之流行文化、娛樂產業與庶民生活價值等面向也開始被一併地以「文學」觀點討論。本論文從「口傳文學」與「流行音樂」兩個領域出發，並以唱片公司跨國整併以及在地意識、多元文化價值蓬勃的九零年代台灣為關鍵的時間點，探討「原住民流行音樂」如何成其面貌，以及當中具代表性的可能因素與類型特質。本研究的思考軸線，從「他者」的書寫、「認同」的建構到「差異」類型的成形，在這個演進過程中，當代西方理論的發展已經顯示了一條清楚的路線，它不但可以是個體生命歷程的縮影，與台灣原住民族的近百年來的族群經驗也密切地吻合。本論文首先以認同經驗的層次來檢視原住民「傳唱歌謠」所反映的時代社會性質，以及當中屬於口傳文化「集體性」的展現，並探討傳唱歌謠進入流行音樂框架中的銜接處所產生的關鍵性質差異。其次，討論九零年代的台灣音樂環境，分別從產業、創作製作和文化三個面向進行考察，嘗試描繪出原住民流行音樂成形的狀態。最後，以「流行音樂」的研究觀點來對原住民流行音樂的實際案例進行分析，包含其核心價值與邊界形式的討論，也與全球脈絡中的其他「口傳」族群音樂成其音樂類型並影響主流流行音樂的案例進行對比參照。在這些大主題與「歷史敘事學」（Historical Narratology）式的分析考察中，本文企圖勾勒出原住民流行音樂作為一種音樂類型，在其差異脈絡中的「差異自主性」，相對應於口傳文學「集體性」與某種他者印象中「原住民性」之觀看軸線，作為未來對原住民音樂或其他流行音樂類型可嘗試的一種研究思路與音樂經驗的印證方式。 / The “Music” or “Singing” has a special position in Taiwan’s aboriginal culture. It is not only an indispensable element in the development of “Aboriginal literature” but also very important in the vast indigenous oral literature beyond written languages. Nowadays, Bob Dylan won the Nobel Prize for Literature as a singer songwriter. It indicates that the steady state of the “songs” between popular literature and classic literature once again been challenged or eliminated, while it also points out that the points of view that popular culture, entertainment industrial, and common people’s life as well as Pop-music are feasible to be part of “literature”.
To discuss the reason why “Taiwanese Aboriginal Pop-Music” became a type and how it worked, the thesis starts from the idea of two field, which is “oral literature” and "popular music”. In the year of 90s in Taiwan when the record companies were consolidated across different countries and the booming of the local awareness of the music and the multi-culturalism were as the key successful factors at that time. The axis of this study is the development that from the description of “Others”, the construction of “Identity” to the formation of “difference categories”. It demonstrated clearly in the development of western contemporary theories. It is not only a microcosm of the life course of an individual, but also closely corresponds to the ethnic experience of the indigenous people in Taiwan over the past centuries.
First,this dissertation research the social in natures of the periods reflected by aboriginal "oral folk songs” and the “Collectivity” of oral culture among them with the difference levels of identity experience. Then, I explored the key properties that arose when the oral folk songs entering the interface of pop-music. Second, to depict the formation of aboriginal pop-music, I discussed the music environment in Taiwan’s 90s according to three aspects of views, which are industry, creative production and cultural. At last, I analyzed the actual cases of the aboriginal pop-music by the theoretical perspective of “Pop-Music” research, which contains the discussions of its core values and boundary. It also been compared with the cases of other "oral" ethnic music globally, that formed the genre of music and influences mainstream pop music. In these wide range of topics and the research in the light of “Historical Narratology”, I tried to contoured a possible way to research the indigenous music or other music types and to express personal music experience. It depends on the aboriginal pop music, as a music type, has its own “Differential Autonomy” in its context, corresponding to the “Collectivity” of oral literature and the “Aboriginality” from “Others”.
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‘What makes songs catchy’: a cognitive analysis of melodic hooks in twenty-first century popular musicGrevler, Kelly 01 1900 (has links)
Text in English with abstracts in English, isiZulu and Xhosa / Page numbering of table of contents inconsistent with dissertation. Appendix A : Full transcription only of Tip toe by Lacey May / What is it about the vocal melodies of popular music that make you want to listen again and again? This music-theoretical study applies principles of Gestalt psychology and theories of expectation to a study of melodic hooks in 21st-century popular music. The hypothesis tested here is that melodic hooks are a vital element in “catchiness”. Transcription and analysis of melodies by major recording artists is used to explore the note-to-note basis for melodic hooks. The analysis of recordings by Adele, Carly Rae Jepsen, Pharrell Williams and Robin Thicke shows how factors of repetition, familiarity, simplicity, resolution, ambiguity of key, and expectation all contribute to the sense of catchiness in music. A listener-response study was used to test the experience of catchiness in the case studies, and corroborates the hypothesis that catchiness depends principally on expectation as an overarching factor. The study also uses auto-ethnographic reflection on the practice of song-writing to give insight into strategies for creating catchy popular songs. The experience of composing a pop song, and releasing it on air, provides unique insight into the artistic process. The results of all these studies show that the perceptual principle of expectation is a crucial factor in the experience of catchiness. / Ingabe yini eyenza iminkenenezo yomculo odumile ikukhange futhi ikuhehe ufise ukuwulalela kaninginingi? Lolu cwaningo lwethiyori yomculo lusebenzisa imigomo ye-Gestalt psychology kanye namathiyori alokho okulindelekile (theories of expectation) ukucubungula nokuhlaziya amavesi eminkenenezo emnandi futhi ekhangayo yomculo odumile wekhulunyaka lama-21. Ihayiphothesisi ehlolwayo lapha wukuthi amavesi eminkenenezo emnandi futhi ekhangayo ayingxenye esemqoka kakhulu “ekukhangeni” komculo. Ukubhalwa nokuhlaziywa kweminkenenezo yabaculi abayizikhondlakhondla abaqopha umculo kuyasetshenziswa kulolu cwaningo ukucubungula inothi nenothi levesi lomnkenenezo omnandi futhi okhangayo. Ukuhlaziywa komculo oqoshiwe ka-Adele, Carly Rae Jepsen, Pharrell Williams kanye no-Robin Thicke kuyabonisa ukuthi izinto ezinjengokuphindaphinda, ukujwayeleka komculo othile, ubulula bomculo, ukuguquka kwenothi lomculo libe ngumnkenenezo ohlabahlosile (resolution), ukungaqondakali nokungaqiniseki ngokhiye womculo (ambiguity of key), kanye nalokho okulindelekile, konke kuyizinto ezilekelelayo futhi ezifaka isandla ekukhangeni komnkenenezo womculo. Ucwaningo lwendlela abazizwa ngayo abalaleli bomculo lwasetshenziswa ukuhlola ukuthi bakhangekile yini labo balaleli bomculo, kwizincwaningo-zigameko zokulalelwa komculo, futhi lolu cwaningo lwasekela lwaphinda lwaqinisekisa ihayiphothesisi ethi ukukhanga komnkenenezo womculo kuncike ikakhulukazi kulokho okulindelwe ngumlaleli womculo njengombandela-ngqangi wokuheheka nokukhangeka kwakhe. Ucwaningo lusebenzisa futhi nokuzibandakanya komcwaningi (auto-ethnographic reflection) enqubweni yokubhalwa kwamaculo ukuze athole ulwazi olunzulu futhi aqondisise kahle amaqhingasu okuqamba izingoma ezidumile ezinomnkenenezo omnandi futhi okhangayo. Ukuzibandakanya enqubweni yokuqamba ingoma yomculo we-pop, kanye nokuyikhipha ukuze idlalwe emisakazweni, kuhlinzeka ngethuba eliyingqayizivele lokuqonda ngokujulile inqubo yokwenza umculo. Imiphumela yazo zonke lezi zincwaningo iyabonisa ukuthi umgomo wendlela-kuhumusha izinto ngokwalokho okulindelekile wumgomo osemqoka kakhulu ekufikelweni komuntu ngumuzwa wokukhangwa nokuhehwa ngumnkenenezo. / Zingantoni izandi ezimnandi zokuvuma ezivakalayo zomculo odumileyo okubangela ufune ukuwuphulaphula njalo njalo? Olu phononongo lomculo ngokwenkcazelo eyingcingane lusebenzisa imigaqo-siseko yemeko yengqondo iGestalt (Gestalt psychology) kunye neengcingane (theories) zokulindelweyo kufundo lwezandi ezinomtsalane okubambayo kumculo wenkulungwane yama-21 Ulwazi oluyingcamango engenabungqina oluhlolwe apha kukuba izandi ezimnandi zokuvuma ingoma ziyinto ebalulekileyo "ekubambeni lula". Ukubhalwa kunye nohlalutyo lweengoma ezenziwa ngabaculi abaphambili bokushicilela kusetyenziselwa ukuphonononga isiseko senowuthi ukusuka kwenye ukuya kwenye inowuthi ngokwezibambo zokuvakala kwezandi. Uhlalutyo lokushicilela luka-Adele, Carly Rae Jepsen, Pharrell Williams kunye noRobin Thicke kubonisa indlela izinto eziphindaphindwayo, zokuqheleka, zobulula, ukusombulula, nobumbolombini kwikhi kunye nokulindelweyo konke kunegalelo kumba wokutsalwa ubanmbeke emculweni.
Uphononongo lokusabela komphulaphuli lwasetyenziswa ukuvavanya amava okufumana ifuthe lomtsalane kwizifundo zabucala, kwaye zihambelana nengcinga yokuba ukubamba kuxhomekeka ikakhulu kulindelo njengeyona nto iphambili. Olu phononongo lukwasebenzisa imbonakalo ezenzekelayo kwinkcazo yenzululwazi ngeentlanga kumsebenzi wokubhalwa kwengoma ukunika ukuqonda ngeendlela zokuyila ingoma ezimnandi ezidumileyo. Amava okuqamba ingoma ye-pop, kunye nokuyikhupha emoyeni, inika ingqiqo eyahlukileyo kwinkqubo yobugcisa. Iziphumo zazo zonke ezi zifundo zibonisa ukuba umgaqo-siseko wengcingane yokulindelweyo luphawu olubalulekileyo kakhulu kumava okubamba. / Art History, Visual Arts and Musicology / M. Mus. (Musicology)
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Adorno on Music and PoliticsMariasin, Dalia January 2020 (has links)
This study aims to discern and assess Theodor Adorno’s theories on music as an ‘art’ and how it impacts both the political and social landscape of society; more broadly, the purposes of this paper is to identify, and determine the significance of, the relationship between music and politics – that is, whether or not, and how, music can emancipate society from capitalist enslavement. In juxtaposing Adorno’s theories, the opinions of Herbert Marcuse will be discussed as well. As both theorists are considered integral to the creation and development of critical theory of the Frankfurt School, it is only logical to examine their theories and ideologies in detail to determine the role of music as an ‘art’ in the overarching scheme of political scaffolding within which society resides. / Thesis / Master of Arts (MA)
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WindowlickerRöthig, Sabine 11 May 2016 (has links)
In der Arbeit wird das Zusammentreffen der aus dem Club kommenden Electronic Dance Music (EDM) mit dem massenmedial konsolidierten Musikvideo untersucht. Diskutiert wird die These eines ästhetischen Paradigmenwechsels, der sich dadurch im Musikvideo vollzieht. Dieser beruht vor allem auf der musikalischen Figur des instrumentalen, modularen Tracks, die sich signifikant von der des Songs unterscheidet. Der originäre Zweck des Musikvideos, den Auftritt des Interpreten auf dem Monitor zu visualisieren, steht also mit dem Track zur Disposition oder wird gar obsolet; das erfordert neue Strategien der Bebilderung. Teil I und II der Arbeit verorten Musikvideo und EDM im wissenschaftlichen Diskurs und versammeln die jeweiligen ästhetischen Attribute. In Teil III wird anhand der Club Visuals die Beziehung von Tracks und Bildern erörtert, um darüber die veränderte Klang-Bild-Konstellation im Musikvideo durch EDM herzuleiten. In Teil IV werden die Erkenntnisse anhand der Fallstudie, dem Musikvideo „Windowlicker“ von Aphex Twin (Musik) und Chris Cunningham (Regie) aus dem Jahr 1999 ausgewertet und angewendet. Die Arbeit möchte die Dimension der ästhetischen Studien um das Musikvideo erweitern und verdeutlichen, wie sich das Musikvideo auch unter veränderten klanglichen Bedingungen als unentbehrlicher Bestandteil der Aufführung von Popmusik in der Monitorkultur erweist und als künstlerisches Genre unbedingt ernst zu nehmen ist, da sich in ihm zeitgenössische Avantgarden abbilden können. / This thesis explores the relationship between Electronic Dance Music (EDM) which originated in clubs, and the mass media consolidated music video. Focussing on how EDM influences the music video, an aesthetic paradigm shift on the latter is discussed. This change stemmed mainly from the structure of the instrumental, modular EDM track, which is significantly different from the structure of the song. Originally, the music video was intended as way of visualising the performance of the artist on the monitor; however, the advent of instrumental EDM tracks posed critical problems for this approach, and arguably renders it obsolete. New strategies of illustrations are required. Parts I and II of this thesis analyse music video and EDM through scientific discourses in an attempt to define their respective aesthetic attributes. In part III the relationship between tracks and images in club visuals is discussed in order to illustrate the singularity of this dialogue. In part IV, conclusions from the foregoing sections are evaluated and applied to a study of “Windowlicker” by British artist Aphex Twin, the video to which was directed by Chris Cunningham in 1999. The purpose of this thesis is to extend the aesthetic studies of the music video to clarify its status as an essential part of popular music in monitor culture. As an artistic genre it has to be taken seriously because it can display contemporary avant-gardes.
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Multiculturalism and the De-politicization of Blackness in Canada: the case of FLOW 93.5 FMMcKenzie, Kisrene 11 December 2009 (has links)
This thesis presents a case study of Canada’s first Black owned radio station, FLOW 93.5 FM, to demonstrate how official multiculturalism, in its formulation and implementation, negates Canada’s history of slavery and racial inequality. As a response to diversity, multiculturalism shifts the focus away from racial inequality to cultural difference. Consequently, Black self-determination is unauthorized. By investigating FLOW’s radio license applications, programming and advertisements, this thesis reveals just how the vision of a Black focus radio station dissolved in order to fit the practical and ideological framework of multiculturalism so that Blackness could be easily commodified. This thesis concludes that FLOW is not a Black radio station but instead is a multicultural radio station – one that specifically markets a de-politicized Blackness. As a result, multiculturalism poses serious consequences for imagining and engaging with Blackness as a politics that may address the needs of Black communities in Canada.
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Multiculturalism and the De-politicization of Blackness in Canada: the case of FLOW 93.5 FMMcKenzie, Kisrene 11 December 2009 (has links)
This thesis presents a case study of Canada’s first Black owned radio station, FLOW 93.5 FM, to demonstrate how official multiculturalism, in its formulation and implementation, negates Canada’s history of slavery and racial inequality. As a response to diversity, multiculturalism shifts the focus away from racial inequality to cultural difference. Consequently, Black self-determination is unauthorized. By investigating FLOW’s radio license applications, programming and advertisements, this thesis reveals just how the vision of a Black focus radio station dissolved in order to fit the practical and ideological framework of multiculturalism so that Blackness could be easily commodified. This thesis concludes that FLOW is not a Black radio station but instead is a multicultural radio station – one that specifically markets a de-politicized Blackness. As a result, multiculturalism poses serious consequences for imagining and engaging with Blackness as a politics that may address the needs of Black communities in Canada.
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HörgerätePapenburg, Jens Gerrit 21 March 2012 (has links)
Die Geräte, durch die Musik im Zeitalter der technischen (Re-)Produktion gehört wird, haben sich immer wieder gewandelt. Solche Geräte müssen überhört werden. Nur so kann Musik gehört werden. Trotzdem – so die These der Arbeit – organisieren diese Geräte das Hören und sind Agenturen einer Bewirtschaftung und Technisierung der Wahrnehmung. In der Arbeit wird anhand von zwei Fallstudien aus der Geschichte der Rock- und Popmusik gezeigt, wie solche Geräte sowohl den Hörer als auch die gehörte Musik formieren. Durch Hörtechnologien bilden sich neue Hörpraktiken heraus und die Körperlichkeit des Hörers wird neu bestimmt. Die Anpassung von Klanggeschehen an spezifische Hörtechnologien wird im Mastering – dem letzten Schritt der technischen Musikproduktion – untersuchbar. Die Geräte, durch die Musik gehört wird, sind also weder schlichte Wiedergabetechnologien noch bloße elektrotechnische Artefakte. Vielmehr sind sie Gefüge aus Klanglichkeit, Körperlichkeit und Technologie. Diese werden in der Arbeit als Hörgeräte auf den Begriff gebracht. Die Hörgeräte der Rock- und Popmusik zielen – wie ihre medizintechnischen Verwandten – auf die Materialität der Wahrnehmung. Im Gegensatz zu diesen funktionieren sie jedoch nicht als Prothesen, die an einer gattungsweit postulierten Norm ausgerichtet sind. Statt Normen bergen sie Exzesse – an Serialität und Wiederholung – sowie Eskalationen – von Lautstärke und von hohen und tiefen Frequenzen. Die Arbeit ist in drei Kapiteln gegliedert. Im ersten Kapitel wird die These der Arbeit in Bezug auf theoretische Diskurse der Musik-, Kultur- und Medienwissenschaft verortet und eine begriffliche Systematik entwickelt. Kapitel zwei und drei sind Fallstudien gewidmet. In der ersten wird das Jukeboxhören der Rock’n’Roll-Kultur der 1950er Jahre untersucht, in der zweiten das Soundsystemhören der Disco- und Clubkultur der 1970er bis 1990er Jahre. Die im ersten Kapitel entwickelte begriffliche Systematik macht die Fallstudien vergleichbar. / The devices by which music is listened to in the age of technological (re-)production have changed over and over again. These devices must be imperceptible to the ear. Only then can music be heard. Nonetheless – this is the claim of the thesis – these devices organize hearing and are agents of a cultivation and technization of perception. Based on two case studies from the history of rock and pop music, this thesis reveals how such devices constitute not only the listener but also the music which is listened to. Through listening technologies new listening practices emerge and the corporality of the listener is newly defined. The adaptation of sound to specific listening technologies can be analysed during the mastering process, the last step in technological music production. The devices by which music is listened to are thus neither simple technologies of reproduction nor mere electrotechnical artefacts. Rather, they are assemblages of sound, corporality, and technology. In this thesis these assemblages are called “Hörgeräte” (listening devices). The listening devices of rock and pop music target – like medical-technical “Hörgeräte” (hearing aids) – the materiality of perception. Contrary to medical technologies, however, listening devices do not function as prostheses, which are calibrated according to medical industry standards. Instead, they contain excesses – of seriality and repetition – and escalations – of amplitude and high and low frequencies. The thesis is arranged in three chapters. In the first chapter I situate the main argument of the thesis within discourses of musicology, media and cultural studies, and develop my own terminology. Chapters two and three deal with case studies. In chapter two I investigate jukebox listening in 1950s rock’n’roll culture, whilst in chapter three I explore sound system listening in disco and club culture from the 1970s to the 1990s. The terminology developed in chapter one enables a comparison of the case studies.
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