In 1988, rap group Public Enemy's front man Chuck D declared that hip-hop was the "black CNN." His assertion was that hip-hop music could be used as a tool to disseminate information amongst communities that traditionally have been underserved by mainstream media outlets. In the years since, several explicitly political and activist groups have formed within hip-hop communities. Most hip-hop audience members are not, however, directly involved in such groups. My dissertation investigates the links between hip-hop music and culture and politics in the lives of audience members, exploring audience member's definitions of politics and community and examining the influence of hip-hop on these definitions. This is an ethnographic project that includes participant observation as well as in-depth interviews with self-identified hip-hop fans. Participant observation took place at two National Hip-Hop Political Convention conferences, in Austin at concerts, panel discussions, and other hip-hop oriented events, and online in an email listserv devoted to hip-hop and politics. Interviews address listening and other practices that serve to connect individual members to hip-hop communities. In addition, I asked participants to explore their definitions of "politics" and to comment on connections between music and politics from their individual perspectives. Finally, participants were asked to list issues of particular concern to them. This is an interdisciplinary project that combines aspects of sociology, cultural studies, and popular music studies. I also rely upon Patricia Hill Collins' concept of intersectionality, assuming that race, class, and gender each work together to contribute to audience members' experience with hip-hop music and culture and their sense of belonging to the hip-hop community. This project contributes to understandings of music reception as well as to understanding political affiliation and practice by exploring and describing the ways in which people register and experience music and politics in the hip-hop generation. / text

I denna uppsats undersöks hur några musiklärare går tillväga för att bygga en fungerande blåsorkesterverksamhet i de musik- och kulturskolor de är verksamma. Vad lärarna anser om planering, vilka mål de har med verksamheten samt hur de arbetar för att uppnå sina mål är frågor som besvaras i uppsatsen. Resultaten diskuteras med utgångspunkt i teorier om samspel och ledarskap. Datamaterialet består av intervjuer med fyra musiklärare på tre olika musik-/kulturskolor. Två av skolorna finns i Sverige och en i Norge. Två av lärarna arbetar på samma skola. I resultatet visas att arbetsmetoderna för planeringen verkar vara snarlika på de fyra skolorna. Lärarna anser att det krävs bra material och kunskap om det material som används, samt ordning och reda på repetitionerna. Skapa spelglädje och en mysig miljö är något som prioriteras högt hos samtliga lärare. Målsättningarna hos de respektive lärarna beror till stor del på vilka resurser som finns och vilka kunskaper eleverna har nått från år till år. Målsättningar på de respektive musik- och kulturskolorna finns inte, utan det är upp till varje ledare/dirigent att själva bestämma målen. Gemensamt för skolorna är planering av jul- och sommarkonserter samt att konkurrensen med idrotten alltid är något de får arbeta mot. När det gäller de intervjuades förhållningssätt i arbetet, är det ett situationsanpassat förhållningssätt det till sist handlar om för att ta sig mot målet. / This thesis purports to examine how different music teachers work in establishing a functioning wind ensemble at music and culture schools they teach at. How they view the planning process, their work goals, and how they strive to achieve their goals, are questions that are answered in the paper. The results are then discussed on the basis of theories of interaction and leadership. The data consists of interviews with four music teachers at three different schools of music / arts. Two of the schools are located in Sweden and one in Norway. Two of the teachers work at the same school. The results demonstrate that the planning is similar at the four schools. The teachers believe that good material and knowledge of the material being used, is required, in addition to discipline at the rehearsals to achieve good results. To create an enjoyful and relaxing environment is prioritized by all the teachers. The goal of the teachers depends largely on the material resources they have, and what knowledge the students have achieved from the previous year. Particular objectives at each respective music and culture school do not exist: this is up to each leader / conductor to decide each case. Common to all schools is the planning of Christmas and summer concerts at the end of every semester, as well as the conflict with sports, which is always something they must deal with. As for the interviewees and their approach to their work, the strategy in achieving the goal is based on each particular situation.

Syftet med studien är att undersöka hur pedagoger som undervisar i akustisk, nylonsträngad gitarr inom musik-och kulturskolan förhåller sig till musikgenrer i undervisningsinnehållet. Detta har studerats med avseende på hur repertoaren väljs genremässigt och vad som har inverkan på detta. Datainsamlingen har gjorts med utgångspunkt från kvalitativa intervjuer med tre gitarrpedagoger. Resultaten visar att genrebredd präglar undervisningen. En viktig aspekt av detta ur pedagogens perspektiv är att visa på gitarrens bredd och möjligheter. Ur ett elevperspektiv ges möjligheter till inflytande över undervisningsinnehållet. Studien visar att förutsättningarna för gitarrundervisning har förändrats över tid i takt med IT-utvecklingen och elevernas allt större musikaliska medvetenhet. Studien pekar på att pedagogerna måste förhålla sig till såväl tradition, samtid som elevinflytande i valet av undervisningsinnehåll med avseende på genrer.

<p>The purpose of this investigation is to see if there is any difference in how long pupils are staying in the activity of the music- and culture schools in the country. I have compared this with how large the teachers engagements are in average at each school, how many teachers each school holds and if one teacher is teaching within different areas, e.g. on different instruments. Thru mail contact with the headmasters at the music- and culture schools I have gathered data concerning the length of which the pupils are staying at the schools, the number of teachers at each school, the size of the teachers services and in how many different areas each teacher is teaching.</p><p>It has been hard to get to any results in the investigation since the music- and culture schools don’t compile statistics on how long their pupils are staying at their schools. Only 10 % of the consulted schools could give me an answer regarding that. The great falling off of statistics has made it hard to come to any conclusion. One conclusion however that has been drawn is that there is an endless amount of factors involved concerning how long a pupil will stay in the activity of the music- and culture schools.</p>

The purpose of this investigation is to see if there is any difference in how long pupils are staying in the activity of the music- and culture schools in the country. I have compared this with how large the teachers engagements are in average at each school, how many teachers each school holds and if one teacher is teaching within different areas, e.g. on different instruments. Thru mail contact with the headmasters at the music- and culture schools I have gathered data concerning the length of which the pupils are staying at the schools, the number of teachers at each school, the size of the teachers services and in how many different areas each teacher is teaching. It has been hard to get to any results in the investigation since the music- and culture schools don’t compile statistics on how long their pupils are staying at their schools. Only 10 % of the consulted schools could give me an answer regarding that. The great falling off of statistics has made it hard to come to any conclusion. One conclusion however that has been drawn is that there is an endless amount of factors involved concerning how long a pupil will stay in the activity of the music- and culture schools.

Thesis (D.M.A.)--Ohio State University, 2008. / Title from first page of PDF file. Includes bibliographical references (p. 103-106).

Thesis (Ph. D.)--University of Hawaii at Manoa, 2004. / Includes bibliographical references (leaves 256-265).

Thesis (M.A.)--Carleton University, 2008. / Includes bibliographical references (p. 144-157). Also available in electronic format on the Internet.

Thesis (M.A.)--University of Delaware, 2006. / Principal faculty advisor: Tammy L. Anderson, Dept. of Sociology and Criminal Justice. Includes bibliographical references.

Thesis (M.S.) in Communication--University of Maine, 2006. / Includes vita. Includes bibliographical references (leaves 110-112).