This thesis examines the role of music and cultural conceptions of emotion and `the feminine' in gendered characterisation in 1940s melodrama and the woman's film. Music in melodrama and the woman's film predominantly follows the late-19th century Romantic style of composition. Many theorists have discussed this type of music in film as a signifier of emotion and `the feminine', a capacity in which it is frequently associated with female characters. The full effect of an association with this kind of music on either female or male characterisation, however, has not been examined. This study considers the effects of this association through three stages - cultural-historical precedents, the generic parameters of melodrama and the woman's film and the narrativisation of music in film. The specific study of films involves textual and musical analysis informed by cultural-historical ideas, film music theory and film theory. Since female characters are more commonly associated with music in this context, they form the primary focus of the study. Male musical-emotional characterisation, while of constant concern, comes under particular scrutiny as the final stage of the study. In conclusion I argue that cultural assumptions combine with the formal representations of film to construct a model of gender based on the idea of `inherent' emotionality. As a definitive element of this dynamic, music functions as more than just a signifier of emotion. Rather, it takes a crucial role in determining how we actually understand emotion as part of gendered characterisation.

This thesis offers a sociological analysis of authorship and copyright. It analyses how a specific model of authorship (characterised as 'Romantic') has come to form the foundation for understanding copyright even though such an understanding does not have any basis in the original purposes of copyright. This argument is then illustrated with a case study of an area of popular music known as 'bootlegging'. The thesis begins with a discussion of the early history of copyright law. It is argued that, rather than being for the benefit of authors, copyright was initially intended as a means of securing public education. On the basis of this discussion it is argued that copyright is a relationship between three interests - authors, public and publisher - but that the rhetorical uses of authorship prove especially critical for understanding copyright as a social phenomenon. The thesis goes on to investigate why Romanticism and copyright should be so intimately linked, relating copyright to notions of individually and immortality, and what problems this understanding of authorship causes. In particular, it is argued that the public interest, the intended beneficiary of copyright law, has been diminished because of the dominance of Romantic authorship. The thesis then offers some alternative conceptualisations of both creativity and copyright. This argument is then illustrated by a case study of the popular music industry. This section of the thesis begins by examining the dominance of Romantic ideals within rock music ideology and discusses the 'functions' of Romanticism for both the music industry and copyright industries more generally. The case study looks at the phenomenon of bootlegging (the commercial release of live performances and outtakes by individuals other than the rights holders) as an exemplar of the trends under discussion. The case study is structured around the question of why bootlegging is viewed as a problem by the legitimate record industry when it is of minimal economic impact. It is suggested that the answer to this puzzle is that bootlegging poses an explicit challenge to Romantic authorship. However, the thesis concludes that bootlegging not only contests but in its own way also reproduces the Romantic idea of authorship.

"'Love's Labours': Extreme Metal Music, and its Feeling Community" proposes an understanding of the nature of subcultural investments in music. It explores the distinct character of Extreme Metal music and the subcultural world that surrounds its fandom. In particular, it is concerned with the nature of attachments to and investments in subculture, investigating how fans feel part of a community, how identities are positioned and postured as 'Extreme Metal', and what processes and activities construct such identifications. Through qualitative research of a group of Extreme Metal fans, and drawing on a variety of theoretical concepts; it suggests that subcultural identities may be related to the processes of interaction and performance and the distinctive forms of subcultural habitus and expert labours linked to those activities. It further suggests that the fan/music relationship can be considered as a site of deep knowledges of 'self', performative labours and interpersonal relations in ways significantly more nuanced than previously theorised. It points to 'feeling' as a key feature of music fandom that provides the explanatory drive to take on, and embed oneself in, particular subcultural habitus, performances and kinship and thus subculture. It proposes that music subcultures can be understood as 'performative feeling communities' that anchor and forge forms of distinction.

A majority of modern studies of Erik Satie’s Trois Gnossiennes seem to consider the French composer’s early piano music as a form of anti-Wagnerian nihilism. This view is misinformed. From Ravel’s first staging of Satie’s early piano music at the Société Musicale Indépendante in 1910, to John Cage’s lecture on the ‘Defence of Satie’ in 1948, composers from both waves of the modernist period (1890-1914 and post 1940s) have often given too much attention to Satie’s apparently anti-romantic and anti-Germanic mentality, failing to consider his early symbolist identity in the French fin de siècle. As a result, numerous studies today examine Satie as a precursor to the light-hearted nihilism of Les Six, Dadaism and the later John Cage. However, this dissertation argues that Satie’s initial behaviour in the fin de siècle period may have been influenced by mysticism, closely associated with the ideals of late-romanticism. Examining the period 1886-1893 (the years of Satie’s youth), this thesis offers a reinterpretation of some of the primary characteristics of Satie’s early piano music, taking into consideration the contextual evidence available on the anti-establishment of Montmartre. In this case, Satie’s aim was to use symbolist means to resist modern rationality, while also ascetically restraining himself from the grandiose subjectivity of late-romantic rhetoric.

The ephemeral nature of live music can, from some perspectives, serve to place limitations on its lasting socio-cultural impact. This thesis addresses such claims by analysing the enduring appeal of a ‘legendary’ venue, the Glasgow Apollo (1973-85), where a series of momentous live music moments from several decades ago continue to be celebrated. In order to accomplish this, the study primarily uses semi-structured and focus group interviews to explore the reminiscences of the audience and artists who shared live music experiences at the venue. Through the application of Actor Network Theory, the work focuses on the influence that actors such as locality, technology, industry and music genre held over these encounters, as well as the manner in which the collective memories of the events in question have subsequently shaped their cultural value. The study first establishes the foundation for Glasgow’s cultural traditions, which thereafter helped to shape the concert experiences at the Apollo. It then follows the actors through, and beyond, the period of the venue’s tenure, to argue that the Apollo ‘legend’ lingers due to the manner in which these live experiences have been collectively framed within several of the platforms dedicated to the venue’s legacy.

This thesis discusses the use of pop songs in narrative films, with particular attention paid to their role in characterisation. My argument concerns the potential for pop to retain its specificity as a certain type of music whilst it carries out functions normally attributed to a composed score. Many commentators have assumed that, because a song may be known before it is used in a film, its narrative meanings are "pre-packaged". I combine an appreciation of pop music's propensity to come to a film already 'known' with an attempt to demonstrate how individual narratives ask songs to perform different affective roles. It is my contention that pop music's quality of 'knownness' is fundamental to its narrative affect in films, without, however, pre-determining that affect. I argue my case through close textual analysis, discussing the relationship between real-life pop stars' musical personas and the film characters they are asked to play, as well as offering numerous examples of songs without an on-screen performer becoming involved in processes of filmic narration.

This thesis is about women rock musicians in the U.K. It is based on in-depth interviews with 36 female rock musicians in the 1980s. Firstly, it examines the relative absence of women in rock music-making and explains this in terms of gender socialisation and a number of social constraints operating on women. Secondly, it looks at those women who, despite all the obstacles, do become rock musicians. A number of variables are put forward which, it is suggested, have helped these women overcome gender constraints. These factors are conceptualised as "escape routes" into rock music-making. Thirdly, all-women bands are examined, and the individual careers of the women who constitute them. An ideal-type model is constructed of the stages of a female band's career. It is concluded that, compared to male bands, there are a whole set of factors which make it more difficult for women's bands to be set up and continue along the career path. These factors have the strongest effect in the early career stages. Lastly, some non-typical career patterns are investigated, and particularly the strategies developed by feminist musicians as alternatives to the mainstream commercial path.

The history of the inter-war labour movement in Britain had an endless, eclectic musical accompaniment. There were sentimental and comic ballads at social events, socialist hymns at meetings and services, massed choirs and full orchestras, soloists with voice and with instruments, dance bands, jazz bands, brass bands and serious composers. Alongside the performance and enjoyment of music there was a great deal of theorising on the subject. Why was music important? What was the source of its power? What was the difference between 'good' and 'bad' music? To whom did music belong? Did it have special usefulness for the labour movement or was it just 'a pleasant change from politics'? This thesis concerns itself with the practical use labour activists made of music in entertaining the comrades, propagating the socialist message and raising funds as well as the formation of musical organisations and societies within the movement and the special place given to music and song during times of struggle. In so doing it attempts to sketch both a national picture and a more detailed look at the musicality of selected local areas. It also examines the intellectual development of labour theories of music. As this period was one of great upheaval and change in both the worlds of labour politics and popular music alike, so important changes in labour music and labour approaches to music are identified. The developments in musical thought, fed by changes in international socialist ideas about music on the one hand and the experience of seeing music used as a 'weapon' in specific struggles on the other, led to changes in the form and nature of labour music as well as its intended function. It is the assertion of this thesis that such changes had cultural consequences stretching far beyond the inter-war British labour movement.

The portfolio consists of eight compositions of varying instrumentation and length. The pieces explore a range of aspects, including experimental and graphic notation, instrumental theatre and differing performance practices. Most of the music presented incorporates other forms of expression: mainly movement, but also spoken word, photography and painting. This creates a musical experience, not only for the ear but also for the eye. The commentary to these pieces discusses aspects of the music that are not directly evident in the score and places the body of work into a wider musical and cultural context.

Made available in DSpace on 2014-06-12T18:28:45Z (GMT). No. of bitstreams: 2 arquivo3477_1.pdf: 1865463 bytes, checksum: de324c7ff5c3b583186c6ff1009cb98f (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2008 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / As reações hansênicas são fenômenos inflamatórios que ocorrem durante a evolução da hanseníase. Avaliar a carga bacilar e as características clínicas e laboratoriais bem como a evolução clínica dos indivíduos com episódios reacionais após o tratamento se faz necessário. Trata-se de um estudo analítico do tipo caso-controle, prospectivo e de caráter observacional. Foram comparados, clinicamente e laboratorialmente, os casos de reação hansênica após o tratamento de hanseníase com a PQT/MB com o grupo controle sem relato de reação após alta, pareados por ano/alta do tratamento com uma margem de ± 6 meses, para analisar a possível associação entre a reação hansênica após alta e a carga bacilar, utilizando o teste sorológico anti PGL-1/ML Flow (Glicolípide Fenólico 1/ Teste do Fluxo Lateral para M. leprae). O estudo foi realizado em dois serviços de referência em atendimento a pacientes portadores de hanseníase na cidade de Recife Pernambuco Brasil, onde participaram 208 pacientes multibacilares tratados com poliquimioterapia multibacilar (PQT/MB) tendo sido correlacionados à reação após alta com a carga bacilar através do teste sorológico anti PGL 1 (ML Flow) além das variáveis: sexo, idade, forma clínica, índice baciloscópico Inicial (IBI), reação durante o tratamento, uso de corticóide, esquema terapêutico, grau de incapacidade e tipo de reação. A associação entre a reação após alta e a carga bacilar e as demais variáveis investigadas foram verificadas utilizandose: cálculo do odds ratios (OR) pareado, intervalos de confiança (IC 95%) e valor de p. Foi observado no presente estudo que os resultados encontrados indicam que a reação após alta está estatisticamente associada à carga bacilar através da positividade da sorologia após alta (anti PGL 1) ( OR: 10,4), e com baciloscopia após alta (OR; 7,21) e o IBI > 2,0 além da associação com o sexo masculino ( OR: 2,07), idade acima de 60 anos ( OR: 0,26 ), com a forma clínica virchowiana (OR: 3,7), com a presença da reação hansênica durante o tratamento (OR: 4,33), a reação tipo 2 durante o tratamento (OR: 12,3) e o uso de corticóide. Foi realizada uma análise multivariada onde se observou que a magnitude dos odds ratio estimados não foi modificada, portanto existe uma associação entre carga bacilar (avaliada através do anti PGL-1) e a reação hansênica, independente da idade, forma clínica e a reação durante o tratamento. Avaliando conjuntamente os resultados, que apontam para a associação entre a reação após alta e a presença da carga bacilar através da positividade do anticorpo anti PGL 1, bem como da baciloscopia, além de evidenciar marcadores clínicos e laboratoriais para a ocorrência da reação após alta, pode-se concluir que é fundamental que as equipes e serviços de saúde estejam preparados adequadamente para conduzir essas complicações, e devem estar alertas às situações após a cura clínica. No entanto, estudos futuros serão necessários para determinar quanto esses indivíduos apresentam risco de desenvolver recidiva