Som låtskrivare är det vanligt att jag hamnar i gamla mönster i mitt komponerande. Jag använder mig ofta av ackord som jag vanligtvis har i mina låtar och går ofta tillbaka till den harmonik som jag tidigare haft i mina kompositioner. Detta examensarbete som jag har jobbat med under hösten 2020 och våren 2021 har som syfte att utforska hur låtskrivning med tonartsfrämmande ackord kan ge upphov till annorlunda melodiska och harmoniska strukturer. Jag har komponerat låtar som inkluderar ackord som inte finns i låtens tonart. Min teoretiska bakgrund har gett mig stor hjälp och jag har läst arbeten som går in på ämnet grungemusik och jag har även studerat videos som diskuterar tonartsfrämmandeackord. Jag har analyserat andra låtar som använder sig av ackord utanför tonarten och har även läst andra arbeten som gått in på just detta ämne. Arbetet har lett till att jag har utvecklats som låtskrivare och att jag har öppnat mina sinnen för ackordens alla möjligheter i mitt komponerande.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2015-12-10T12:47:40Z No. of bitstreams: 1 ericalvesdias.pdf: 2857444 bytes, checksum: c6c69693b167b8d07c3df26f689fb1fc (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2015-12-10T14:11:54Z (GMT) No. of bitstreams: 1 ericalvesdias.pdf: 2857444 bytes, checksum: c6c69693b167b8d07c3df26f689fb1fc (MD5) / Made available in DSpace on 2015-12-10T14:11:54Z (GMT). No. of bitstreams: 1 ericalvesdias.pdf: 2857444 bytes, checksum: c6c69693b167b8d07c3df26f689fb1fc (MD5) Previous issue date: 2015-08-20 / A consciência sobre a morte é uma das marcas exclusivas da condição humana. Uma das grandes diferenças entre o homem e o restante da natureza, é que o animal não se sabe mortal; ou melhor, não significa a morte. Sendo assim, o homem é o único que pode significar e representar a morte por meio de diferentes formas de linguagens, de maneira a conceituá-la esteticamente. Assim sendo, o presente trabalho percorrerá sob análises literárias, versando sobre letras de músicas de algumas bandas que fizeram parte do movimento Grunge nos finais do século XX, em analogia com diversas obras que compõe a estética literária romântica do século XIX. Abordaremos especificamente os conjuntos Alice in Chains e Nirvana, juntamente com alguns trabalhos dos escritores Edgar Allan Poe e Charles Baudelaire. Ao longo desse estudo, enfocaremos as semelhanças entre estes autores, explanando de que maneira foi concebida a ideia de que tanto nas letras das músicas — bem como nos ambientes de alguns videoclipes — que se enquadram no movimento Grunge, quanto em obras românticas do século XIX, há tendências profundamente voltadas para temáticas fúnebres e sentimentais. Em suma, o presente estudo visa apresentar a postura do romântico em relação ao mundo, ilustrando suas atitudes e ideais transgressores por meio de expressões artísticas que cultuam a morte. / The consciousness about death is one of the exclusive traits of human condition. One of the biggest differences between man and the rest of nature is that the animal is unaware about its own mortality; or rather, it does not give meaning to death. Thus, man is the unique being who can represent and give meaning to death through different forms of language, in order to conceptualize it aesthetically. Therefore, this study will cover the literary analysis, dealing with the lyrics of some bands of the late twentieth century Grunge movement, in analogy with several works that make up the romantic literary aesthetic of the nineteenth century. Specifically, the songs of Alice in Chains and Nirvana, along with some works of the writers Edgar Allan Poe and Charles Baudelaire. Throughout this study, we shall focus on the similarities between these works, explaining the idea that both the lyrics of the songs that fit into the Grunge movement - as well as the environments of some video clips - and the romantic texts of the nineteenth century have trends deeply rooted on funereal and sentimental themes. In short, this study aims to present the romantic attitude toward the world, illustrating its transgressive attitudes and ideals through artistic expressions of worship to death.

Senior Honors thesis--Regis University, Denver, Colo., 2009. / Title from PDF title page (viewed on May 12, 2009). Includes bibliographical references.

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A look at how artists in the grunge and Riot Grrrl movements constructed public identities that typically appealed to the economic, cultural, and social conditions of the early 1990s. These public personas -- perceived as “honest” -- were defined by negotiation with mainstream culture, the notion of the “confessional,” and gender construction. By examining how these identities were constructed, composition students can see how cultural influences mediate their own identity construction. A “grunge/Riot Grrrl” pedagogy is proposed that encourages students to look at how identities are constructed across a multimedia landscape, reflecting the way grunge and Riot Grrrl artists built public personas using music, lyrics, interviews, album covers, photo shoots, and videos. An online assignment is suggested that would allow students to “profile” their public selves and the cultural conditions that influence them so that students can use multimedia to show their public identities.

No description available.

No description available.