Thesis (Ph. D.)--University of Iowa, 2004. / Supervisor: Kembrew McLeod. Includes bibliographical references (leaves 219-228).

Orientador: Pedro Peixoto Ferreira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-25T12:51:50Z (GMT). No. of bitstreams: 1 Malhao_RafaeldaSilva_M.pdf: 19665783 bytes, checksum: 97dedddf16af7fdc50c3ab0adc13a7b9 (MD5) Previous issue date: 2014 / Resumo: A presente dissertação tem como objeto e objetivo central compreender o processo tecno-genético de formação dos DJs de Música Eletrônica de Pista (MEP) para uma atuação efetiva frente a uma pista de dança. Para dar conta da tarefa que me propus dediquei-me a analisar este processo a partir de três de abordagens distintas, a saber, tecnologia, técnica e habilidade, que assumem dinâmicas relacionais diferentes que dependem do objetivo e combinação estabelecida entre elas, e a partir destes diferentes cenários relacionais estas combinações orientam ritmos específicos de interação entre humanos e máquinas. Estas combinações e ritmos foram o núcleo para a análise mais profícuo identificado para explorar o DJ como conceito e prática no âmbito da MEP. Estas três abordagens visam desdobrar as questões relativas a cada tópico supracitado e a integração destas abordagens se dá por meio de uma experiência estética não contemplativa. A primeira abordagem tem como preocupação central as diferentes formas em que a tecnologia de reprodução sonora foi relevante para MEP e visa constituir uma base material da mudança tecnológica para as discussões abordadas subsequentemente. A segunda abordagem parte desta base tecnológica a fim de apresentar as possíveis formas de constituição das habilidades, das técnicas e do corpo por meio da atuação sinérgica para fins comuns entre DJs e tecnologias de reprodução sonora. A terceira abordagem se vale das duas anteriores para tentar compreender a relação que se estabelece entre estes modos tecnológicos e técnicos de formação das habilidades e percepção que contribuem na forma de interação entre DJs e pista de dança, atendo-se principalmente, nas potencialidades e especificidades de uma proposta tecno-estética que busca escapar da passividade contemplativa na relação entre público e executores de atos estéticos. Este percurso se fez necessário para a compreensão do papel das tecnologias na formação dos sentidos e das ações a eles correspondentes durante o processo de aprendizado das técnicas sendo elas de discotecagem ou modos de dança. Por fim, identifico, assim como alguns autores que perpassam o texto, que o modo de percepção, bem como o corpo que percebe ? e todas as implicações desta situação ? não são dados a priori, e sim, se constituem ao longo das diferentes interações com o ambiente e com a tecnologia. E que uma abordagem estética que privilegie a experiência estética mediada por objetos que não são necessariamente estéticos, mas objetos que possibilitam diferentes reticulações do espaço e do tempo por meio do seu modo de manipulação e inserção em contextos específicos foi a maneira mais interessante para descrever a relação entre DJs, tecnologias e pista de dança / Abstract: The aim of this study is to understand the techno-genetic process of the development of Electronic Dance Music (EDM) DJs in an effective performance in the dance floor. To be able to accomplish this task I analyse the process from three distinct approaches, namely technology, techniques, and skills that assume different relational dynamics depending on the goal and the combination stabilished among them, and from those different relational scenaries those combinations orient toward specific rhythms of interaction between mankind and machines.These combinations and rhythms were the most proficuous nucleous to the analysis, identified to explore the DJ as concept and practise in EDM. Those three approaches are to unfold the issues regarding each topic above mentioned and the integration of the approaches happens through a non-contemplative aesthetic experience. The first approach aims the different ways sound reproduction technology was relevant to EDM and intends to build a material base of technological change to the discussions subsequently dealt. The second approach derives from said technological base in order to present the possible ways of developing skills, techniques, and body by the synergic movement to common goals between DJs and sound reproduction technology. The third approach derives from the first two aiming to understand the relation stablished among the technological ways and the techniques to form the skills and perceptions that contribute the way of interaction between DJs and the dance floor. It focuses mainly in potencialities and specificity of the techno-aesthetic proposal that tries to scape from contemplative passivity in the relation between the audience and the performer of aesthetic acts. All this process was needed to understand the role the technologies play in the formation of senses and actions corresponding to them during the technique learning process of either DJing or dance moves. Consequently, I identified, as well as some autors who perpassed the text, the fact that the way of perception and the body that perceives and also all implications of this situation are not given a priori, and that way, are constituted during the different interactions with the environment and technology. Also an aesthetic approach that previleges the aesthetic experience mediated by objects not necessarily aesthetic, but objects with different reticulations of the space and the time through their form of manipulation and inserction in specific contexts was the most interesting way to describe the relation between DJs, technologies, and dance floor / Mestrado / Sociologia / Mestre em Sociologia

Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2007. / Bibliography: p. 291-313.

The goal of this research was to provide how women in Indiana perceive their roles in the radio industry.Thirty-five female participants from across the state sorted Q statements that covered the following topic areas: relationships with men, relationships with co-workers, personal on-air work, career opportunities/education, and personal life.Through an analysis of the Q sorts collected for this particular study, three distinct factor types were found: Optimists, Pessimists, and Neutralists. The Optimists are enthusiastic about their work in radio and do not feel as if they have been slighted by male co-workers or managers. Pessimists, while they expressed a general enjoyment of their work, are overwhelmed with feelings of suppression by the men with whom they work with. Finally, the Neutralists seem uncertain of any professional limitations in the radio industry because of male dominance.There was little evidence that the three groups in relation to age, level of education or years in radio was related to the three factor types. / Department of Journalism

Thesis (Ph. D.)--University of California, San Diego, 2006. / Title from first page of PDF file (viewed February 28, 2006). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 206-220).

xviii, 510 p. : ill. (some col.) This work is licensed under a Creative Commons Attribution-NonCommercial- ShareAlike 3.0 License (United States). / This study analyzes the culture, history, and technology of the hip hop DJ in order to tease out the relationships between industrial and cultural practices. The following research questions structured the investigation: 1) What historical developments in intellectual property rights and music playback and delivery formats contribute to a political economy of the hip hop DJ; 2) what has been the role of intellectual property exchange and standardization in the DJ product industry relevant to hip hop DJs; 3) how are the meanings involved in the consumption of and production with analog and digital technologies related; and 4) does hip hop DJ culture represent convergence and collective intelligence? Employing various qualitative methods, the research includes interviews with influential hip hop DJs, executives at record labels, distributors, retailers, and DJ technology manufacturers. The study also reviews the histories of music playback technologies and standardization in relation to intellectual property laws. With political economic, cultural Marxism and new media theories as its framework, this study analyzes hip hop DJs as the intersection of corporate culture and youth culture. The research broadly addresses the hip hop DJ's role in building the industries that cater to hip hop DJing. Specifically, the study analyzes the politics of how hip hop DJs' intellectual properties and subcultural capital have been harnessed by companies in various industries as a way to authenticate, improve, and sell product. The study also examines consumption as production, collective intelligence, and how digital technologies are negotiated within this culture. The research suggests that hip hop DJ culture and the DJ technology and recording industries are not necessarily discrete entities that exert force upon one another. Rather, they are involved in a cultural economy governed by technocultural synergism, which is a complex interplay between agency and determinism guided by both corporate and cultural priorities. The study also offers a networked theory of innovation and creation over the individual genius emphasized in U.S. intellectual property laws to suggest that hip hop DJ culture is an open source culture. / Committee in charge: Dr. Janet Wasko, Chairperson; Dr. Julianne Newton, Member; Dr. Biswarup Sen, Member; Dr. Daniel Wojcik, Outside Member

Indiana University-Purdue University Indianapolis (IUPUI) / This is a photo-documentary study of two themes found within the literature on fabulous appearances: the gay nightclub patron and the club DJ. This study used a large Midwestern gay nightclub as the field setting. Fabulousness involves the way patrons costume themselves in order to communicate status within the setting. This study revealed that participants in the setting utilize three different types of self-presentation. These types embody desirable characteristics and ideas of attractiveness that revolve around power, establishing a normalized “gay” identity, and using surreal based characteristics to achieve their goal of being noticed. The DJs served as informal organizers through their appearances and performances. Analysis of the DJ role found that DJs provide visual cues for other participants in the setting on how to act, dance, dress, and behave. This study is the first in depth examination of the role of the DJ and the communicative processes between the DJ and dancers in gay nightclubs.

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