Global ETD Search

101	La Onda Nuevo Mexicana : multi-sited ethnography, ritual contexts, and popular traditional musics in New Mexico García, Peter J. 14 March 2011 (has links) Not available / text
102	Zoning out dance clubs in Manhattan : gentrification and the changing landscapes of alternative cultures Hae, Laam. January 2007 (has links) Thesis (Ph.D.)--Syracuse University, 2007. / "Publication number: AAT 3295522."
103	Styly elektronické taneční hudby v rámci české scény / Styles within the Czech scene of electronic dance music TOMANOVÁ, Šárka January 2012 (has links) This diploma thesis is focused on the topic of electronic dance music and its genre classification within Czech music scene. The main part of the thesis defines seven primary genres of EDM from the historical and musical perspective, and consequently it divides them into the subgenres that the audience can meet on the Czech dance floors most frequently. Moreover, the thesis describes the origin, evolution as well as the current situation of Czech EDM. The thesis also concerns with the differences among the subgenres by means of the drum pattern notation and sonic samples.
104	Le changement musical: étude transculturelle de trois siècles de changements dans la musique et la danse en milieu urbain Demeuldre, Michel January 1991 (has links) Doctorat en sciences sociales, politiques et économiques / info:eu-repo/semantics/nonPublished Sciences sociales Music -- Social aspects Popular music -- Social aspects Dance music Dancing -- Social aspects Musique -- Aspect social Musique populaire -- Aspect social Danse, Musique de
105	El EDM (Electronic Dance Music), mediante campañas publicitarias, genera determinadas motivaciones hacia un servicio / Know how EDM (Electronic Dance Music), through advertising campaigns, generates certain motivations towards a service Romero Ruiz, Claudia Nicole 28 March 2021 (has links) EDM son las siglas de Electronic Dance Music, es el género madre de la música electrónica moderna. Actualmente, el género Pop, Rock y Latín utilizan el EDM como género complementario y esto se ha visualizado en la publicidad. Desde los inicios de la publicidad, la música ha estado presente como un complemento de mensajes publicitarios con el fin de generar conexión con los consumidores. En esta investigación cualitativa nace con el objetivo de conocer como el EDM (Electronic Dance Music), mediante campañas publicitarias, genera determinadas motivaciones hacia un servicio. Con el objetivo general, nacieron cuatro objetivos específicos: Identificar el uso de música en las campañas publicitarias, identificar la percepción del EDM en las campañas publicitarias, analizar las motivaciones generadas con el EDM y su relación con las marcas de servicio; y diagnosticar al EDM como herramienta publicitaria. Se entrevistaron a 8 expertos de la publicidad para dialogar en base a su experiencia, conocimientos y dialogar de los casos de investigación: Plaza Vea-Campeonas todos los días y Saga Falabella-Colección #MossimoUnlimited. / EDM stands for Electronic Dance Music, it is the mother genre of modern electronic music. Currently, the Pop, Rock and Latin genre use EDM as a complementary genre and this has been seen in advertising. From the beginning advertising, music has been present as a complement to advertising messages to generate connection with consumers. In this qualitative research, it was born with the aim of knowing how EDM (Electronic Dance Music), through advertising campaigns, generates certain motivations towards a service. With the general objective, four specific objectives were born: Identify the use of music in advertising campaigns, identify the perception of EDM in advertising campaigns, analyze the motivations generated with EDM and its relationship with service brands; and diagnose EDM as an advertising tool. 8 advertising experts will be interviewed to dialogue based on their experience, knowledge and dialogue of the research cases: Plaza Vea-Campeonas every day and Falabella Saga-Collection #MossimoUnlimited. / Trabajo de investigación Herramienta publicitaria Campaña publicitaria Electronic Dance Music Advertising tool Advertising campaign Audio branding
106	Význam rytmu v elektronické taneční hudbě / Rhythm Meaning in Electronic Dance Music Pálková, Tereza January 2015 (has links) This Masters thesis is an attempt to analyse the significance of rhythm in electronic dance music. The purpose of this thesis is to investigate whether rhythm can create meaning within electronic dance music, and to analyse its effect on the structure of the genre. The thesis is divided into two parts. In the theoretical part we will define the theories of music semiotics with regard to the structuralist approach and the traditional approach of CH. S. Peirce. We will describe the ways rhythm can operate and define what the term electronic dance music means. In the second part we will analyze rhythmic structures of individual sub-genres by comparing and contrasting basic elements of the rhythmic pattern.
107	Typen der Melodiebildung in den Tanzsammlungen von Michael Praetorius und Johann Hermann Schein: Am Beispiel ausgewählter Couranten Stojak, Sonja 27 October 2023 (has links) Im Vorwort zu Terpsichore (1612) schreibt Michael Praetorius, die Melodien und Arien dieser »Französischen Tänze« habe ein Tänzer und sehr guter Geiger aus Frankreich zusammengestellt. Zu einigen Tänzen ergänzte Praetorius Bass- und/oder Mittelstimmen, übernahm aber auch vollstimmige Tanzsätze oft unbekannter Autorschaft aus bereits existierenden Sammlungen. Im Gegensatz dazu komponierte Johann Hermann Schein in seiner Sammlung Banchetto musicale (1617) die Tanzmelodien selbst. Ausgehend von den analytischen Werkzeugen, mit denen Melodietypen solcher Sammlungen in jüngerer Zeit beschrieben wurden, wird gezeigt, welche Unterschiede sich in der Melodiebildung der beiden Sammlungen erkennen lassen. Mit einem Rekurs auf Hugo Riemann wird zudem ausgeführt, welche analogen melodischen Elemente paarig angeordnete Tänze aufweisen und welche rhythmischen und diastematischen Strategien dabei für Variation sorgen. / In the preface to Terpsichore (1612), Michael Praetorius writes that the melodies and arias of these »French dances« were compiled by a dancer and very good violinist from France. Praetorius added the bass and/or middle voices to several dances, but he also adopted fully voiced dance movements of often unknown authorship from already existing collections. In contrast, Johann Hermann Schein in his collection Banchetto musicale (1617) composed the dance melodies himself. Starting from the analytical tools with which melody types from such collections have been described in recent years, this article shows the differences in the melodic design of these two collections. Through reference to Hugo Riemann, analogous melodic elements in coupled dance movements and rhythmic and diastematic strategies used for variation are demonstrated. info:eu-repo/classification/ddc/780 ddc:780
108	CULTURALLY SITUATED PROGRAMMING PLATFORMS: SEIS8S, A LIVE-CODING LANGUAGE FOR ELECTRONIC LATIN DANCE MUSIC / SEIS8S, A LIVE-CODING LANGUAGE FOR LATIN DANCE MUSIC Navarro Del Angel, Luis Fernando January 2023 (has links) This dissertation speculates on culture, social spheres, and programming to gain insight into how computer platforms can be (re)thought and (re)designed around the consciousness and struggles of Latin American communities. This dissertation uses an interdisciplinary methodology emphasizing approaches to live-coding performance, platform design and software development, participatory action research, and interpretive and semiotic analysis. The research in this dissertation starts with the argument that computer languages are influenced by social spheres (e.g., science and arts), economic models (e.g., knowledge economy), communication systems (e.g., natural language), and infrastructures (e.g., software collaboration protocols and institutions). Next, it is discussed how I deployed this argument by ideating and coding a computer language based on specific social spheres (i.e., live coding practice and popular music), communication systems (i.e., Spanish), and infrastructures (i.e., cultural centers and online spaces) of Hispanoamerica. Finally, this computer-music language is compared and contrasted against collective reflections and uses by this dissertation’s author and members of the general public through a series of conversation circles and live coding performances. This research results in developing Seis8s, a computer-music language inflected by Spanish constructs borrowed from Latin dance music. Seis8s blends Latin American music sensibilities and live coding techno-politics to promote critical reflection. Seis8s emphasizes resistance to asymmetric types of computer-music abstraction by bringing Afro-Latin instruments and rhythms to the center of the technology and the performance. Results of this research also include ten public presentations using Seis8s involving individual and collective live coding performances and conference presentations. These public presentations showcased Seis8s and promoted reflection toward universal understandings of bodies, culture, politics, and economies of these technological and artistic milieus. This research also gives insight into mestizaje and latinidad as concepts still present in the belief systems and ways of knowing Spanish speakers in Latin America and, consequently, in the software they develop. Mestizaje and latinidad are challenged collectively by positioning the white-mestizo ideology as a shared problem that could be resisted through reflection on the irreducibility of the Latin American identity and its potential to coexist with other identities. / Dissertation / Doctor of Philosophy (PhD) culturally situated programming live coding electronic Latin dance music new media art web-art critical code studies Hispanoamerica Spanish language Cumbia Mestizaje
109	DJs, clubs and vinyl: the cultural commodification and operational logics of contemporary commercial dance music in Sydney / Cultural commodification and operational logics of contemporary commercial dance music in Sydney Montano, Edward James January 2007 (has links) Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2007. / Bibliography: p. 291-313. / Introduction -- "Back to this subculture thing": literature review and methodology -- "The crowd went berserk": dance music and club culture in Sydney and Australia -- "Once you find a groove you've got to keep it locked": the role and significance of the DJ -- "There's a great myth about that": DJ culture in Sydney -- "You're not a real DJ unless you play vinyl": technology and formats: the progression of dance music and DJ culture -- "What is underground really?": defining the structure, significance and meaning of dance culture -- "Where are they going to go next?": shifting the focus of dance music studies. / The development of contemporary, post-disco dance music and its associated culture, as representative of a (supposedly) underground, radical subculture, has been given extensive consideration within popular music studies. Significantly less attention has been given to the commercial, mainstream manifestations of this music. Furthermore, demonstrating the influence of subculture theory, existing studies of dance culture focus largely on youth-based audience participation, and as such, those who engage with dance music on a professional level have been somewhat overlooked. In an attempt to rectify these imbalances, this study examines the contemporary commercial dance music scene in Sydney, Australia, incorporating an analytical framework that revolves mainly around the work of DJs and the commercial scene they operate within.--An ethnographic methodological approach underpins the majority of this thesis, with interviews forming the main source of research material. Beginning with a discussion of the existing academic literature on dance culture and dance scenes, an historical context is subsequently established through a section that traces the development of dance culture from an underground phenomenon to a mainstream leisure activity, both within and outside Australia.--The ideas, opinions and interpretations of a selection of local DJs and other music industry practitioners who work in Sydney are central to the analysis of DJ culture herein. Issues discussed include the interaction and relationship between the DJ and their crowd, the technology and formats employed by DJs, and the DJ's multiple roles as entertainer, consumer and educator. The final part of the study gives consideration to the structure of the Sydney dance scene, in regard to the frequently used, but rarely critically analysed, terms 'underground' and 'mainstream'. The thesis concludes with a discussion that challenges the structural rigidity imposed by subcultural theory and scene-based analysis, arguing instead for a greater degree of fluidity in the theoretical approaches taken towards the study of contemporary dance music scenes. / Mode of access: World Wide Web. / vi, 334 p Subculture -- New South Wales -- Sydney dance music club culture DJs popular music
110	Windowlicker Röthig, 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. Popkultur Disco Techno EDM Acid Aphex Twin Chris Cunningham Club Club Visuals DJ Electronic Dance Music elektronische Musik Loop Mix MTV Musikproduktion Musikvideo Popmusik Pop-Persona Popsong Popstar Remix Richard D. James Sampling Song Tanzmusik Track Videoästhetik VJ Warp Records Windowlicker track disco techno EDM acid Aphex Twin Chris Cunningham club club visuals DJ electronic dance music electronic music loop mix MTV music production music video popular culture pop music pop persona pop song pop star remix Richard D. James sampling song dance music video aesthetics VJ Warp Records Windowlicker 780 Musik 48 Musik LR 11370 ddc:780

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