Thesis (M.A.)--Miami University, Dept. of Communication, 2008. / Title from first page of PDF document. Includes bibliographical references (p. 97-105).

Thesis (M.A. in communication)--Washington State University, August 2009. / Title from PDF title page (viewed on Sept. 21, 2009). "Edward R. Murrow College of Communication." Includes bibliographical references (p. 99-124).

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves [269]-307). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves [269]-307). Also available on the Internet.

Constructions of masculinity and femininity can be reinforced through written and spoken language, creating stereotypes and inequality between genders. Gender representations in music lyrics have been studied for various genres, but the country music genre has been somewhat underrepresented. Considering the fact that country is seen as the authentic music genre and culture of the US, it is relevant to study how gender is represented in relation to society. The aim of this study is to investigate how masculinity and femininity is represented in 15 modern country songs from the last decade retrieved from Billboard.com. The hypothesis for this study is that modern country music should have a less stereotypical view on men and women than older country music. Critical Discourse Analysis has been used to analyse the lyrics, and metaphors, similes and verbs have been analysed in order to reach the aim. The country music culture has been the framework to interpret the results, as well as the view of femininity and masculinity as social constructions. The findings point to more exaggerated versions of masculinity and more stereotypical depictions of femininity being represented in the lyrics than older research made about country music and gender. Masculinity and femininity are depicted as opposites with clear boundaries set between them. The modern lyrics express a desire to claim authenticity through conservative and stereotypical representations of men and women, using metaphors and verbs that enforces certain norms and assumptions about femininity and masculinity.

This master thesis aims to investigate from oral sources (interviews), where and by whom the country music social areas have been frequented as well as the experiences and way of life of these people who now live in the cities. So, it has the intention to survey the current songwritings taken as "hillbillies", especially those written people who lived in the countryside and now live in Uberlândia. We intend to investigate, how the practitioners of country music in the city see music nowadays, taking into account songs commercialization and what they have been "imposing" regarding the modernization of it. The investigation understand country music as a social practice. So, it is of great importance these hillbillies experiences of life to understand the continuities and / or breakages that country music has undergone over the past few years. The research starts from the idea of how "social practices," which carry meanings, feelings and values for people who practice it in the city, give shape and meaning to country music today. / A presente dissertação pretende investigar a partir de fontes orais (entrevistas), onde e por quem os espaços de sociabilidade da música caipira vem sendo frequentados, bem como as experiências de vida e modo de vida dessas pessoas que hoje moram nas cidades. Assim, tem como pretensão fazer um levantamento das composições atuais tidas como caipiras , principalmente aquelas compostas por esses praticantes na cidade de Uberlândia. Pretende-se investigar, como os praticantes da música caipira na cidade veem a música nos dias de hoje, levando em conta à sua comercialização e o que ela vem impondo referente à modernização da música. A investigação parte da ideia de música caipira como uma pratica social. Por conseguinte, é de importância relevante a experiência de vida desses indivíduos para entender as continuidades e/ou rupturas que a música caipira sofreu no decorrer dos últimos anos. A investigação parte da ideia de como práticas sociais , a qual carrega consigo significados, sentimentos e valores para as pessoas que as praticam na cidade, dão formato e significado à música caipira hoje. / Mestre em História

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No. of bitstreams: 11 Dissertação - Dênis Rilk Malaquias - 2013.pdf: 13909510 bytes, checksum: 0a4ed5cc6c07ede20df5c15d86ba4ef3 (MD5) 01 -Pagode em Brasilia.mp3: 3561600 bytes, checksum: 8c8cf8c111b1564e1a6fcb1f609df0cf (MD5) 02 - Chora Viola.mp3: 4578564 bytes, checksum: 68248f57ab53027abb1f8255c366ad41 (MD5) 03 - Nove e nove.mp3: 3942528 bytes, checksum: 8a5cc5a1b802e2db3f62771b41b561b8 (MD5) 04 - PAGODE DO ALA.mp3: 6562221 bytes, checksum: c3841dafdae352cbe8709ea281215262 (MD5) 05 - Selecao De Pagode N1.mp3: 3208250 bytes, checksum: 98f828875150581702e38b4809e74bd8 (MD5) 06 -Pagode bom de briga.mp3: 5803452 bytes, checksum: 1650a77d1dcb3b7fd22edade1c854ab4 (MD5) 07- chora viola - Ivan Vilela - Dez Cordas.wma: 296871 bytes, checksum: 50922f03e1a637463c2de4fa07488b12 (MD5) 08 -Pagode do Véio - João Paulo Amaral.wma: 2975864 bytes, checksum: 853c16785bade14aaaf975f2a5499b27 (MD5) 09 A VIOLA NÃO PÁRA.mp3: 4681059 bytes, checksum: d75b1be6b6dbd5ea5ea4c437276faea7 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2013-06-20 / This research aims to study the genre pagode of viola of musician Tião Carreiro, approached from of the processes of cultural interaction which is resulting and their stylistic peculiarities, aiming to investigate the importance and influences exerted on the scenario of violeirística Brazilian music. For both analyzes were carried out of works and violeirísticas performances of Tião Carreiro and musicians who have excelled in three different cuts time after him, seeking to evidence the dialogue of these musicians with their work and performance, assess the characteristics of contextual style (the genre), living with characteristics of individual style (resulting from updates from genre effected for them) according reflections of Bakhtin (2003). In the course of the research it was possible to show that musicians of various musical facets, especially related to country music and music violeirística, in a general way, revere the work of Tião Carreiro, and that pagode of viola has influenced generations of viola players. / A presente pesquisa tem como objeto de estudo o gênero musical pagode de viola do músico Tião Carreiro, abordado a partir dos processos de interação cultural dos quais é resultante e das suas peculiaridades estilísticas, visando investigar a importância e as influências que exerceu no cenário da música violeirística brasileira. Para tanto foram realizadas análises de obras e de performances violeirísticas de Tião Carreiro e de músicos que se sobressaíram em três diferentes recortes tempo que o sucederam, buscando evidenciar o diálogo desses músicos com a sua obra e performance, aferir as características de estilo contextual (do gênero), convivendo com características de estilo individual (resultantes de atualizações do gênero por eles efetivadas), conforme as reflexões de Bakhtin (2003). No transcorrer da pesquisa foi possível constatar que músicos de várias facetas musicais, em especial ligados à música caipira e à música violeirística, de uma forma geral, reverenciam o trabalho de Tião Carreiro, e que o pagode de viola tem influenciado gerações de violeiros.

Many consider music, songs, and dance performance as utopian signifiers for cinema, but few has entered the utopian discourse of country musicals, a small genre of cinema usually known as country music films. By closely scrutinizing Pure Country (1992), this thesis aims to reveal how country music—as music numbers and as background cues— integrate and connect the fragmented on-screen world for the country musicals so as to offer audiences a fullness of utopian experience, and how this utopian effect are culturally significant for American audiences due to country music’s unique mechanism of constructing utopia and nostalgia in its past-orientations, sentimentalities, and alleged authenticities. I argue because of the American country music’s internal need for utopia as an individual and social agent, Pure Country, as well as the neo-traditionalism country music defined by Pure Country, reconciles the pop and the old time country music, and also conciliates the tension expressed in such music tastes between the rural and urban communities. This reconciliation makes Pure Country a not so perfect cinematic text for documenting country music’s authenticity and origin, but fully and clearly reflects the utopian meaning of country music on an individual and social level.

This dissertation seeks to ethnographically explain an apparent paradox: the tremendous popularity of U.S. country & western (C&W) in postcolonial St. Lucia. The music's reputation as a "white" expressive form contradicts the decolonization ethos of a young, predominantly Afro-creole nation and appears to challenge an emerging St. Lucian postcolonial identity. I show how St. Lucians use C&W to effect significant continuities with Afro-creole culture. Its creolization in the St. Lucian context makes C&W a compelling expression of post-colonial identity. I argue that with considerable genius, St. Lucians have creolized ways to dance to C&W much as they creolized European country and court dances in earlier centuries. In this instance, however, the music was already more creole than is customarily admitted. St. Lucians make U.S. C&W their own by curating songs with a particular Caribbean resonance, creolizing the dance on habanera beats, and syncretizing it with marginalized Afro-St. Lucian folk practices. Denying simplistic cultural imperialism, St. Lucians have reclaimed C&W, highlighting its under-acknowledged but already creole ingredients, merging it with their own Afrocreole folk forms, and transforming it into a music of black social experience. The dialogic continuities are many: storytelling; working-class and real-life themes; social dance context of communal, cross-island exchanges; instruments and genres from Africa, including fiddle and banjo, yodel and drum; updating of the already creolized Kwadril complex; and, perhaps most revealing, the way the dance creolization incorporates the habanera beat. Given these continuities, the popularity of country & western in St. Lucia seems virtually over-determined rather than counter-intuitive. To analyze this specific challenge of cultural decolonization, I develop the concepts of "postcolonial creolizations" and "empire rollover." I trace the varied meanings of the term creole--and suggest that its variability should be the foundation of theoretical potency. I use Bakhtinian notions of intertextuality to examine how expressive forms from different worlds come into dialogue with each other, and show how the conversations eventually produce new creations. I show how postcolonial creolizations prompt us to rethink how power relations get reconfigured in postcolonial contexts. I argue that by attending to ways that postcolonial actors are shaping creolization processes now, we can better understand how colonial and modern imperial forces come together to challenge meaningful decolonization and sovereignty. I call this convergence process "empire rollover." This refers to the uneven processes involved as one form of imperialism gives way to subsequent imperial relations. I use this concept to answer important questions regarding the degree to which power is reclaimed in postcolonial transformation of expressive culture and to what extent creolization is decolonized. I show how the St. Lucia banana industry case epitomizes the phenomena economically wherein colonial-type benefits rollover to a new imperial power (U.S.) and continue to accrue, while advantages gained during decolonization do not. The C&W case, in contrast, shows how St. Lucians use "imperialist" forms in creative, distinctively St. Lucian ways, such that it is not simply an expression of neocolonial relations.

Singers and songwriters come to Nashville, Tennessee because they consider it the center of the country music universe and the best place to perform their songs as they try and break into the music business. Though few ever experience success in this competitive field, artists continue to arrive in Nashville and many don't have the commercial potential that would allow them the opportunity to perform anywhere but on the city's streets. The film, Street Chords and the Truth: A Street Level View of Country Music, focuses on these interesting performers and their music. Country music has been examined by a handful of ethnomusicologists and is often called the music of everyday life. Many recognize its dependence on ordinary singing styles, common phrasings, southern accents and traditional costuming as central to its identity and critical source of its value as a commodity. While many studies have been conducted focusing commercially popular country music singers and the music industry, few studies been conducted on singers who meet all the critical criteria for country music except commercial viability. This documentary examines country music more as a critical element of cultural identity and less as a commodity.