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Twentieth-century popular music is fundamentally associated with electronics in its creation and recording, consumption, modes of dissemination, and playback. Traditional musical analysis, placing primacy on notated music, generally focuses on harmony, melody, and form, with issues of timbre and postproduction effects remaining largely unstudied. Interdisciplinary methodological practices address these limitations and can help broaden the analytical scope of popular idioms. Grounded in Jacques Attali's critical theories about the political economy of music, this dissertation investigates how the subversive noise of electronic sound challenges a controlling order and predicts broad cultural realignment. This study demonstrates how electronic noise, as an extra-musical element, creates modern soundscapes that require a new mapping of musical form and social intent. I further argue that the use of electronics in popular music signifies a technologically-obsessed postwar American culture moving rapidly towards an online digital revolution. I examine how electronic music technology introduces new sounds concurrent with generational shifts, projects imagined utopian and dystopian futures, and engages the tension between automated modern life and emotionally validating musical communities in real and virtual spaces. Chapter One synthesizes this interdisciplinary American studies project with the growing scholarship of sound studies in order to construct theoretical models for popular music analysis drawn from the fields of musicology, history, and science and technology studies. Chapter Two traces the emergence of the electronic synthesizer as a new sound that facilitated the transition of a technological postwar American culture into the politicized counterculture of the 1960s. The following three chapters provide case studies of individual popular artists' use of electronic music technology to express societal and political discontent: 1) Jimi Hendrix's application of distortion and stereo effects to narrate an Afrofuturist consciousness in the 1960s; 2) Trent Reznor's aggressive industrial rejection of Conservatism in the 1980s; and 3) Deadmau5's mediation of online life through computer-based production and performance in the 2000s. Lastly, this study extends existing discussions within sound studies to consider the cultural implications of music technology, noise politics, electronic timbre, multitrack audio, digital analytical techniques and online communities built through social media.

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The field of popular music studies currently lacks effective and extensive discourse on drumming and rhythmic parameters in general. Some important preliminary work exists primarily due to significant contributions by relatively few authors. This thesis serves to expand this literature by providing a detailed explanation of many of the primary elements involved in the intricate practice of rock drumming. Additionally, it expands the literature on the music of Jimi Hendrix by thoroughly exploring the musical contributions Mitch Mitchell made as the drummer for the Jimi Hendrix Experience. Mitchell's stylistic approach to rock drumming is illuminated through analysis of the drum parts in four of the group's songs. An explanation of rock drumming in general and one effective individual approach are present within the work.

LOPES, Marcos Oliveira. Formas de (R) existir cinema: o cinema como acontecimento no corpo em Álbum de Família e em CC5 hendrix-war. 2015. 139f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Comunicação Social, Fortaleza (CE), 2015. / Submitted by Márcia Araújo (marcia_m_bezerra@yahoo.com.br) on 2016-03-29T22:52:38Z No. of bitstreams: 1 2015_dis_molopes.pdf: 2098559 bytes, checksum: eeb006dde123ff07cb5c7c0785528775 (MD5) / Approved for entry into archive by Márcia Araújo(marcia_m_bezerra@yahoo.com.br) on 2016-03-29T22:58:45Z (GMT) No. of bitstreams: 1 2015_dis_molopes.pdf: 2098559 bytes, checksum: eeb006dde123ff07cb5c7c0785528775 (MD5) / Made available in DSpace on 2016-03-29T22:58:45Z (GMT). No. of bitstreams: 1 2015_dis_molopes.pdf: 2098559 bytes, checksum: eeb006dde123ff07cb5c7c0785528775 (MD5) Previous issue date: 2015 / Formas de (r) existir cinema: o cinema como acontecimento no corpo em “Álbum de família” e em “CC5 hendrix-war”; existe como uma conversa-texto em forma de pesquisa acadêmica que dialoga sobre as possibilidades de existência de cinemas em situações-cinemas experimentadas em duas proposições poéticas a partir da imersão do corpo em espaços/objetos interativos. O trabalho CC5 hendrix-war realizado em parceria entres os artistas Hélio Oiticica e Neville de Almeida, bem como o trabalho Álbum de família de minha autoria, são aqui problematizados como situações-cinemas como efeito de acontecimentos no corpo a partir da ação de um corpo-dançante. A questão que este trabalho apresenta diz da possibilidade de existência de cinema a partir de um corpo que dança no momento em que dança. Assim, a ideia de um livro-cinema que experimentado com um corpo-dançante faz existir uma situação-cinema em Álbum de Família introduz a conversa e tenciona em suas particularidades as capacidades de um conjunto de fotografias poderem ser experimentadas como cinema. Dialogo com os conceitos de situação-cinema (PARENTE, 2009), Transcinemas (MACIEL, 2009), estética do desaparecimento (FURTADO, 2010) e acontecimento (DELEUZE, 2007). O segundo momento desse dialogo trata da possibilidade de existência de cinema a partir a observação sobre os quasi-cinemas de Hélio Oiticica e Neville de almeida. Assim, o conceito de duração é problematizado no sentido de compreender mais atentamente como se efetivam as propostas poéticas em Oiticica/Neville no que se refere as suas experimentações poéticas com o cinema. Aqui, dialogo com os conceitos de quasi-cinema (OITICICA/NEVILLE, 1973), duração (BERGSON, 1999), Linha de fuga (PELBART,2007), e cartografia(DELEUZE &GUATTARI, 2010). A terceira parte do trabalho trata da possibilidade de existência de cinema em CC5 hendrix-war na medida da ação de um corpo que dança. Dialogo com os conceitos de dança (NIETZSCHE, 2002), corpo-dançante (GADELHA, 2010), movimento dançado (GIL, 2006) e agenciamento (DELEUZE, 1998). Nos termos de Deleuze e Guattari a cartografia pretendida no ínterim dessa conversa visa acompanhar um processo, e não representar um objeto. A cartografia como um modo de existência para essa conversa cria seus próprios movimentos, seus próprios desvios. É um projeto que pede passagem, que fala que incorpora sentimentos, que afeta e que é afetado pelos processos pelos quais se efetiva. O que proponho como maneira de fazer pesquisa é uma espécie de mapa do presente que demarca um conjunto de fragmentos, em eterno movimento de produção. Assim, no contexto do plano traçado aqui é pertinente reafirmar que o cinema como acontecimento no corpo nas situações-cinemas aqui problematizadas (r)existe, ou seja, o cinema existe e também resisti em “Álbum de família” e em “CC5 hendrix-war” a partir de um corpo que dança no momento em que dança.

The Creation and Manifestation of Reality-theory was developed for this study. This theory provides an answer to why high functioning people experience problems at work, develop relationship problems, and other dysfunctions that occur in their lives. It provides an explanation as to why this happens: at a certain point in our existence a critical incident (or Initial Sensitising Event) or a series of repeated incidents is perceived by the person as traumatic. During this time of high emotion the child forms a subconscious conclusion, followed by a subconscious decision. The Hypnotic Blueprint is an accumulation of all the different subconscious conclusions and decisions formed over time at a time of intense emotionality, during which the psyche feared for its survival, repressed, gated and banished into the borders of the person's subconscious mind. Numerous other incidents occur through life that reinforce and bolster the original Hypnotic Blueprint. Simultaneously, conflicting ego-states are formed, attempting to balance the state of disequilibrium. Later in life, the original Blueprint is triggered, through the Symptom Activating Event, at a sub-conscious level and starts to operate in the person's life, attracting the circumstances and people who best replay or re-enact the original trauma on a symbolic level. This pattern will be recreated in the person's life, and will most often be the reason why the person enters therapy, or the presenting problem. Life acts as a mirror of the inner world or the psyche of the person. The inner world is mirrored by the other world, or reality. By changing our inner reality, we impact or transform our outer reality. To complete the Creation and Manifestation of Reality-theory, the Imago Developmental Stages identified by Harville Hendrix, were integrated, namely Attachment, Exploration, Identity and Competence. The therapeutic modality suggested is de-hypnotising. The study does not intend to measure the success of the therapy, but rather to establish and test the validity of the Creation and Manifestation of Reality-theory on case studies, using the Life History approach. / Educational Studies / DED(PSYCHOLOGY OF EDUCATION)

The Creation and Manifestation of Reality-theory was developed for this study. This theory provides an answer to why high functioning people experience problems at work, develop relationship problems, and other dysfunctions that occur in their lives. It provides an explanation as to why this happens: at a certain point in our existence a critical incident (or Initial Sensitising Event) or a series of repeated incidents is perceived by the person as traumatic. During this time of high emotion the child forms a subconscious conclusion, followed by a subconscious decision. The Hypnotic Blueprint is an accumulation of all the different subconscious conclusions and decisions formed over time at a time of intense emotionality, during which the psyche feared for its survival, repressed, gated and banished into the borders of the person's subconscious mind. Numerous other incidents occur through life that reinforce and bolster the original Hypnotic Blueprint. Simultaneously, conflicting ego-states are formed, attempting to balance the state of disequilibrium. Later in life, the original Blueprint is triggered, through the Symptom Activating Event, at a sub-conscious level and starts to operate in the person's life, attracting the circumstances and people who best replay or re-enact the original trauma on a symbolic level. This pattern will be recreated in the person's life, and will most often be the reason why the person enters therapy, or the presenting problem. Life acts as a mirror of the inner world or the psyche of the person. The inner world is mirrored by the other world, or reality. By changing our inner reality, we impact or transform our outer reality. To complete the Creation and Manifestation of Reality-theory, the Imago Developmental Stages identified by Harville Hendrix, were integrated, namely Attachment, Exploration, Identity and Competence. The therapeutic modality suggested is de-hypnotising. The study does not intend to measure the success of the therapy, but rather to establish and test the validity of the Creation and Manifestation of Reality-theory on case studies, using the Life History approach. / Educational Studies / DED(PSYCHOLOGY OF EDUCATION)

This project was designed to develop a public relations plan to increase awareness in Southern California of the Tzu Chi Foundation, a non-profit organization that is based in Taiwan.