Global ETD Search

11	Česká hudební publicistika zaměřená na rockovou hudbu v období normalizace / Czech music journalism focused on rock music during the period of normalization Husák, Martin January 2012 (has links) The thesis "Czech music journalism focused on rock music during the period of normalization" reflects the position and importance of Czech rock music journalism within the structure and development of normalization of the media system. It is brought back through the oral historical research based on authentic evidence of their protagonists. It defines the initial prerequisites (ideological, political and socio-cultural) which are important to understand the circumstances under which rock music could be created and developed into an institution. It all depended on the confrontational attitude of communist power towards rock music generally. The next methodic element how to fulfill the defined goals is descriptive and comparative perspective. On this basis there is confronted official and samizdat's area of magazine production on the example of chosen periodicals. There also belong other qualitative aspects of music journalism (personalization, professionalization and every day editorial job). At the end the accepted conclusions are supported by the analysis and interpretation of chosen cultural and music events. They are divided by the method of their media coverage from official and samizdat periodicals.
12	Specifické rysy hudební publicistiky ve vybraných tištěných periodikách v mediálním diskursu síťových médií / Specific features of the music publicistic in representative printed magazines in the period of net-media discourse Křížová, Lenka January 2013 (has links) This thesis deals with specifics of textual formulas of music journalism in magazines Týden, Reflex and Respekt and it is based on their articles published from January to July 2011. It contains a content analysis of the word-stock with a special interest in metaphors ant its position in our language. We can see the way how we understand the reality around us which is based on a conceptualization in our minds. And then it reflects how we speak and what meanings we give to concrete words. These metaphoric concepts are followed with concrete examples coming from articles. There is also paid attention to colloquiality and bookishness and their suitability in today's media discourse. There is made a comparison of the individual writing of journalists who represent these magazines and we can also see different attitude in processing the same or similar topics. The theoretic part of this thesis follows the history of criticism with special interest in music criticism. Then we compare today's position of this media discourse and we can also see trends which might be followed in the future.
13	Translating pragmatic markers : or whatever you want to call them Estling Hellberg, Sanna January 2013 (has links) This study analyses the translation of pragmatic markers from English into Swedish. The source text that was translated and used as a basis for the study is an article called “Black Books”, which was published in the British music magazine Prog in January 2013. The study is limited to question tags, general extenders and single-word pragmatic markers. It aims to investigate how these types of pragmatic markers can be translated in a dynamic and natural way, as well as how a careful analysis can facilitate the search for appropriate translation equivalents. Previous research and theories were used to determine the functions of the pragmatic markers in the source text, and the translation choices made on the basis of these findings were supported by corpus searches in the English-Swedish Parallel Corpus and Korp. The study revealed that because of the different ways in which pragmatic functions are expressed in English and Swedish, almost none of the pragmatic markers in the source text could be translated directly into Swedish. Formally equivalent solutions such as tja as a translation of well were generally considered too unnatural. While the study is too small to provide any general guidelines, it shows how a careful analysis may help the translator find more dynamically equivalent and natural solutions in the form of, for instance, other Swedish pragmatic markers, modal particles, adverbs and conjunctions. dynamic equivalence general extenders interviews modal particles music journalism naturalness pragmatic functions pragmatic markers question tags translation General Language Studies and Linguistics
14	Mediální zobrazení hudební skupiny Psí vojáci mezi lety 1979-2013 / Media depictions of band Dog Soldiers between 1979-2013 Bambas, Ondřej January 2017 (has links) Thesis "Media coverage of band Dog Soldiers (Psí vojáci) between years 1979 and 2013" shows the change of cultural environment as well as the differences between the normalization press and the magazines after 1989. Diversity of media system describes work primarily through oral history research based on testimonies of direct history participants and people associated with the group Dog Soldiers and alternative music scene. Band was situated between underground and alternative culture, so its position cannot be easily set. As it cannot find any similar interpret of the same genre. The unique position made Dog Soldiers an alternative music scene's symbol of post-Communist period. The descriptive and comparative perspective also serves to fulfill the set goals, which makes it possible to compare the functionality of official and samizdat or exile periodicals at the time of normalization and nationwide newspapers and music magazines in later more active period of the group. The work also shows the differences between the processing of individual musical environments of Czech culture by specialized literature.
15	Down beats and rolling stones : an historical comparison of American jazz and rock journalism Brennan, Matthew January 2007 (has links) Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry. 780
16	A Blacker and Browner Shade of Pale: Reconstructing Punk Rock History / Schwarze und braune Nuancen im Weiß: eine Rekonstruktion der Geschichte des Punkrocks Pietschmann, Franziska 20 December 2010 (has links) (PDF) Embedded in the transatlantic history of rock ‘n’ roll, punk rock has not only been regarded as a watershed moment in terms of music, aesthetics and music-related cultural practices, it has also been perceived as a subversive white cultural phenomenon. A Blacker and Browner Shade of Pale challenges this widespread and shortsighted assumption. People of color, particularly black Americans and Britons, and Latina/os have pro-actively contributed to punk’s evolution and shaped punk music culture in the United States and England. Examining why people of color are not linked to the punk rock genre and culture in normative discourse, this paper first scrutinizes the continuously unaddressed racialization of Anglo-American popular music itself and explores how the historical development and discursive construction of racial boundaries impacted the historiography of Anglo-American popular music. Building on these premises, the second central field of inquiry probes how the music press, aided and abetted by academic texts, constructs punk as a white music mono-culture that such discourse historicizes, analyzes, and maintains. Both popular (journalistic) and academic publications have largely ignored or underrepresented the presence of people of color, especially black (American) as well as Latina/o participants, in punk rock culture. The thesis’ third major focus imagines punk as a fluid social and musical convergence culture that continuously crosses unstable boundaries of genres, races, and genders. A Blacker and Browner Shade of Pale thus indicates an emerging awareness of how popular and academic discourse can become more sensitive to punk's multiracial, inclusive, and participatory mores. Punk Rock Populäre Musik Afroamerikaner Lateinamerikaner USA England Historiographie Subkultur Musikjournalismus Multikulturalismus Geschichte Rassismus punk rock popular music African Americans Latina Latino USA England historiography subcultures music journalism multiculturalism history racism ddc:780 rvk:LS 48900 Punk Rock Geschichte
17	A Blacker and Browner Shade of Pale: Reconstructing Punk Rock History Pietschmann, Franziska 31 March 2010 (has links) Embedded in the transatlantic history of rock ‘n’ roll, punk rock has not only been regarded as a watershed moment in terms of music, aesthetics and music-related cultural practices, it has also been perceived as a subversive white cultural phenomenon. A Blacker and Browner Shade of Pale challenges this widespread and shortsighted assumption. People of color, particularly black Americans and Britons, and Latina/os have pro-actively contributed to punk’s evolution and shaped punk music culture in the United States and England. Examining why people of color are not linked to the punk rock genre and culture in normative discourse, this paper first scrutinizes the continuously unaddressed racialization of Anglo-American popular music itself and explores how the historical development and discursive construction of racial boundaries impacted the historiography of Anglo-American popular music. Building on these premises, the second central field of inquiry probes how the music press, aided and abetted by academic texts, constructs punk as a white music mono-culture that such discourse historicizes, analyzes, and maintains. Both popular (journalistic) and academic publications have largely ignored or underrepresented the presence of people of color, especially black (American) as well as Latina/o participants, in punk rock culture. The thesis’ third major focus imagines punk as a fluid social and musical convergence culture that continuously crosses unstable boundaries of genres, races, and genders. A Blacker and Browner Shade of Pale thus indicates an emerging awareness of how popular and academic discourse can become more sensitive to punk's multiracial, inclusive, and participatory mores. info:eu-repo/classification/ddc/780 ddc:780 Punk Rock; Geschichte

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