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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.

Examining the emergence and subsequent proliferation of anti production amongst the popular music producing elite

Bennett, Samantha 2010 (has links)
No description available.

Tuning in : towards a grounded theory of integrative musical interaction

Bentley, Jane E. 2011 (has links)
No description available.

The lyrics of Udo Lindenberg and Konstantin Wecker : contemporary variations of German cabaret and Gebrauchslyrik

Blühdorn, Annette 2001 (has links)
No description available.

Robert Hope-Jones, M.I.E.E. : an interim account of his work in the British Isles

Clark, R. 1993 (has links)
No description available.

Choral music and the Church of England 1970-1995 : a study of selected works and composer-church relations

Burrows, H. J. 1999 (has links)
No description available.

Gypsy punk : towards a new immigrant music

Ashton-Smith, Alan 2013 (has links)
The musical genre of Gypsy Punk, in which the most significant contributions have been made by the multi-­‐ethnic band Gogol Bordello, may appear to be simply a composite of the two elements that make up its name – ‘gypsy’ and ‘punk’. But a closer investigation reveals that Gogol Bordello are in fact engaging with a broader cultural palette, and challenged established perceptions. The figure of the ‘gypsy’ is important to the genre, but it is essential that the implications of this word are understood in order to fully grasp its significance. In addition to influences from punk and cabaret, the Balkans, and the ways in which this region has been perceived from outside, also have a bearing on Gypsy Punk. Yet none of the musicians who make up Gogol Bordello can be described as either ‘gypsy’ or Balkan, and therefore the outward presentation of the band does not reveal the significance of Gypsy Punk. This can be better understood through an examination of Gogol Bordello’s use of myth – a Gypsy Punk mythology is created not only through their music, but also through iconography, performance, and the band’s manifesto. In addition, extant myths, such as those that surround the Roma and the Balkans, are subverted in their work. However, it is the mythology of immigration that is in many ways most important to Gypsy Punk. The immigrant experiences of Gogol Bordello’s members, and the immigrant figures that appear in their work are particularly relevant in that they reflect contemporary global society. Gypsy Punk transcends the established idea of ‘gypsy’ music and functions as what I describe as an immigrant music. The mythologies that Gogol Bordello engage with serve as windows through which immigrant music can be seen and comprehended as a music with particular relevance today.

Voice, body and performance in Tori Amos, Björk and Diamanda Galás : towards a theory of feminine vocal performance

Zaplana Rodríguez, Esther 2009 (has links)
This thesis explores the vocal and musical performance of several women artists and undertakes a cultural analysis of some of their works from a gendered perspective. The readings examine primarily the meanings of the voice in performances by Tori Amos, Bjork and Diamanda Galas, as well as a few aspects of avant-garde vocal performer Fatima Miranda. The cultural interpretation engages with the artists' musical and visual displays in order to disclose the relationship between the voice and the gaze, and to argue, thereby, that vocality in musical production becomes a means for the woman singer to construct her own (self) representation and affirm her enunciative position as a speaking subject in culture. Within the specific case studies, an element in the discussion focuses on the centrality of the body and the audience figuration of the singing body, given that representations are understood as vehicles for 'hidden' messages about the gendered body. The body-source of the voice is brought into the analysis as a way to enable a set of new meanings associated with the positioning of the female artist vis-a-vis the representation she performs in her artistic display. The study is framed by the individual (albeit, in concrete ways, related) ideas of French feminists Luce Irigaray, Helene Cixous and Julia Kristeva, bearing in mind that Irigaray emerges as the main theorist who informs the research. By engaging with the thinking of these authors, the research contributes an argument for the relevance of their concepts, language, and aesthetics to the analysis of women's vocal performance. In line with their reconsideration of psychoanalytic and linguistic categories, as well as Irigaray's re-conceptualisation of sexual categories, the study develops a theoretical approach from which to examine the cultural dimension of feminine vocal performance. The analysis is thus situated between psychoanalysis and postmodem feminist theories, and links the signification of an auditory culture produced by women to the wider context of a gender politics of (self) representation.

Loss, memory and nostalgia in popular song : thematic aspects and theoretical approaches

Elliott, Richard 2008 (has links)
The aim of this thesis is to study the ways loss is reflected in popular music and in the discourse surrounding popular music. The project attempts to create a dialogue between theorists of loss and memory working in various disciplines and those working in and around popular music (musicians, critics, academics). It also recognises the vital role of loss in revolution (and vice versa) and attends to revolutionary moments, or events, not least the `event' of rock 'n' roll. It proceeds from the idea that, while creativity is a crucial aspect of the production and reception (or receptive production) of popular music, creativity often takes the form of a response, or set of responses, to loss. While rooted in popular music studies, the project reflects a desire to look outside the Anglophone tradition and includes case studies of a few music genres - Portuguese fado, Cuban nueva trova, Chilean nueva canciön - that exist in a place between popular music studies and ethnomusicology. It also studies three areas more familiar to Anglophone popular music studies: rock 'n' roll, black protest music in America and punk/post-punk in Britain. Methodologically, the thesis draws on popular music studies, philosophy and cultural theory in an attempt to suggest ways that these disciplines can inform each other.

Anyone can do it : traditions of punk and the politics of empowerment

Dale, Peter Robin William 2011 (has links)
When the word punk is invoked, a majority of people – in the UK, at least – will think of the Sex Pistols, safety pins through the nose and other such bands and signifiers from the late 1970s. The purpose of this research, in large part, is to show that punk has in fact been a persistent and consistent tradition in the decades since. Power and tradition are the two concepts, above all others, which the thesis will assess in the light of the punk case. Four notable micro-scenes from this tradition are explored in case-studies. In each of these micro-scenes, elements of novelty have been apparent and seem to have empowered the participants in the scene precisely by giving them a sense of being subjects with clear differences from the larger tradition. Since this notion of subjectivity is based on a faith in novel difference as qualifier of identity, the thesis will employ philosophical work on difference, novelty and subjectivity in order to critically engage this aspiration. Does bringing something markedly new to the tradition truly empower the punks in their various micro-scenes? Alternatively, could fidelity to tradition perhaps lead to a greater empowerment in which the punk scene could gain greater influence within the macro-scene of popular music as well as, perhaps, encouraging political change in wider macro-social terms?

Interrogating the live : a DJ perspective

Bell, Paul 2010 (has links)
This PhD is driven by practice-led research that interrogates the notion of ‘live’ performance in a mediatised culture. At its core it is concerned with the tension between body and machine. Argued from a DJ perspective the work addresses issues raised by creative tools and platforms currently being developed and distributed. Questions of digitally technologised and mediatised versus analogue creative media inform a position on the challenges posed by ‘remediated’ live uses of technologies, particularly as read against more traditionally held views of liveness. On the one hand, solo practical work directs an investigation into existing and emerging DJ technologies; negotiating a path between an analogue paradigm rooted in Turntablism and the virtual world of digital media. On the other, a series of collaborative projects explore the DJ as a ‘live’ ensemble player, confronting the paradoxical whilst gaining insight into contemporary conditions of musical creativity. The textual commentary provides a self-critical narrative of a personal research process informed by DJ practice and musicology scholarship. Questions relating to liveness are dealt with at the outcome of each stage of the process and critical positions devised. The practical projects are informed by several years’ sustained interest and empirical enquiry into improvisation with audio and visual materials. Included in this submission are a number of CDs and DVDs containing this work. Without wanting to initiate a detailed debate on the relationship between ‘theory’ and ‘practice’ my own position is that I consider the written element of this thesis – the references to cultural/media theory and writings by practitioners working in my field – as inextricable from the music making itself. Readings have influenced my thinking which has in turn affected my practice, and I have used practical enquiry to problematise what has been said or written in relation to my discipline. The practice/theory debate has gathered momentum since artists began bringing their research into the academy. However, a simple polarisation of a posteriori and a priori knowledge has a tendency to lead us in circles and, having fallen victim to many heated discussions concerning the relevance of theory to practice and how to resolve the problem, it is my own belief that the two sides cannot be separated. For that reason I have chosen not to engage with the debate in this thesis, as I believe that this would have detracted from the larger research aims of my project. On the topic of collaborative research - such as that carried out with John Ferguson in the Tron Lennon duo, for example - I do not consider my own contribution to be fifty percent of the work, instead I believe that myself and my collaborators have invested one hundred percent respectively, for each has had his own specific research agenda that happened to find its impetus in collaborative music making. Finally, given the critical context of mediatisation to the practical work hereinafter, some readers may be surprised to see photographic slides set to music as part of the documentation. Though it may seem incongruous the format serves to condense history, providing a narrative of the processes that encapsulate the work of the creative practitioner, processes that are often overshadowed by the product such as the sense of occasion leading up to a performance and the technologies or tools that facilitate the creative process.

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