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The purpose of the current research was to investigate the benefits of creating and participating in an original creative musical production on one’s self-esteem. The investigation was done by assessing the effects of creating and participating in an original creative musical production on the self-esteem of adolescents residing in a residential care institution. The objectives that guided the study were to determine the levels of the participants’ self-esteem before and after staging their original musical arts production; to explore elements of their original musical production which exhibited creativity; and to determine the adolescents’ perspectives regarding participating in their production. Observations, performance analysis and group discussions were used for data collection. The results revealed that engaging adolescent children in creating an original musical production and staging it enhanced their self-esteem and confidence, and brought feelings of self-worth. Through creating and participating in their original musical production, the adolescent participants were able to learn social skills, learn to express their views, and showcase their creativity through a musical performance. The current study therefore adds to the existing knowledge which advocates that participating in creative artistic activities enhances self-esteem. / Thesis (DMus)--University of Pretoria, 2021. / National Arts Council / Music / DMus / Unrestricted

A Newfound Passion- Choreography analyzes the artistic process and life journey of creating choreography for musical theatre. My training as a dance minor at East Tennessee State University from 2011-2015 culminated in my final senior capstone experience as a choreographer for the ETSU Division of Theatre and Dance’s production of Oklahoma!. Composing a new musical theatre dance and analyzing the original choreography of Oklahoma! (and the art of choreography more generally) provided significant material for analysis, and the following research reflects what I learned and experienced. Overall, the experience of choreographing has changed the way I see myself as a dancer and has instilled in me a new sense of respect for choreographers around the world.

Made available in DSpace on 2016-08-16T18:10:23Z (GMT). No. of bitstreams: 1 dissertacao marcos ramon.pdf: 4142149 bytes, checksum: b64ee9d763382604306cb7199e4fb1fa (MD5) Previous issue date: 2011-12-09 / Analysis of musical production and its dissemination strategies from the use of social networking. The proposal is to investigate the actions of artists-producers that are within the scope of cyberculture. For this, I analyze relevant concepts to cyberspace and its relationship with the music produced from the use of digital technology. I also investigate the issue of consumption and identities on the Internet, in search of a mapping of the interests that prevail in cyberspace. I define social networks on the internet and point out its essential elements. I use in this research, as a priority, the ethnographic method adapted to the online environment, together with the analysis of social networks. Investigate and analyze the speeches of musicians who have appropriated, in the course of their work with music, the particular circumstances of digital technology and the online environment as a way of acting. Evaluate the speeches and try to draw viable conclusions that enable a understanding of the phenomenon of musical production in the Internet age. / Análise da produção musical e suas estratégias de divulgação a partir da utilização das redes sociais virtuais. A proposta é investigar as ações dos artistas-produtores que estão inseridos no âmbito da cibercultura. Para tanto, analiso os conceitos pertinentes ao ciberespaço e sua relação com a música produzida a partir da utilização da tecnologia digital. Investigo também a questão do consumo e das identidades na internet, na procura de um mapeamento dos interesses que prevalecem no ciberespaço. Defino as redes sociais na internet e aponto seus elementos essenciais. Utilizo nesta pesquisa, prioritariamente, o método etnográfico adaptado ao ambiente online, juntamente com a análise das redes sociais. Investigo e analiso os discursos de músicos que se apropriaram, em suas trajetórias de trabalho com a música, das circunstâncias específicas da tecnologia digital e do ambiente online como forma de atuação. Avalio os discursos e procuro extrair conclusões viáveis que possibilitem uma compreensão do fenômeno da produção musical na era da internet.

This diploma thesis, entitled "Marketing tools of the United Islands festival and real impacts of their use" is focused on the marketing tools suitable for marketing of musical production and is based on example of the United Islands festival. The goal of this thesis is to marginally present specifications of musical open air productions, to present in detail marketing tools used for promotion of these events and by using data from marketing research to demonstrate whether the tools used by the United Islands festival are chosen correctly or incorrectly. Theoretical part of the thesis is devoted to a definition of work related terms and to list marketing tools suitable for promotion of music productions. The following practical part gain from theoretical part and from marketing research and by using them it deduces what marketing tools are suitable for promotion of the United Islands festival and what is their cost effectiveness and efficiency.

Sättet på vilket vi upplever musikalteater har under de senaste åren genomgått ett skifte. Allt fler musikaler har gått ifrån att främst vara framförda live till att allt oftare vara inom ett producerat och inspelat format. Som musikproducent och musikalkompositör är jag fascinerad av detta skifte, och vilka möjligheter detta medför. Inom ramen för detta självständiga arbete på avancerad nivå utforskar jag möjligheterna i att komponera och producera musikal för inspelat medium, utifrån perspektivet av musik- och medieproduktion, och vilka konstnärliga möjligheter som uppstår när produktionstekniska aspekter tas hänsyn till under hela processen i skapandet av en musikalfilm. Genom reflektion kring hur musikaler görs idag, och hur modern teknologi och produktionstekniker kan påverka hur musikaler görs framöver, diskuterar jag olika produktionskoncept utifrån egna erfarenheter erhållna från detta projekt, och utifrån redan etablerade produktionsmetoder och teorier, såsom användandet av klicktrack inom musikproduktion, musikaliska metaforer, och mediatransformation. Jag diskuterar fördelen med att, som musikproducent, vara insatt i alla delar av processen, och drar slutsatsen att genom att ta hänsyn till produktionstekniska aspekter under hela skapandeprocessen uppstår nya konstnärliga möjligheter för narrativ och berättande inom musikalteater. / The way in which we experience musical theatre has shifted in the last few years. Rather than being performed live, musicals lean more often towards being within a produced and recorded format. As music producer and musical composer, I am intrigued by this change, and the possibilities it entails. Within this master’s project I explore the possibilities in composing and producing musical for the recorded medium, out of the perspective of music, and media production, and explore artistic possibilities when considering the production aspects during the entire process in creating a musical film. Reflecting on how musicals are being made right now, and how modern technology and producing techniques can affect how musicals could be made in the future, I discuss different production concepts I gather from my own experience working with this project, and previously existing production methods and theoretical ideas, such as the use of a click track while producing, musical metaphors, and media transformation. I discuss the benefits of, as music producer, having insight in every step of the process, and state that by considering production aspects of the project during the entire process, new artistic possibilities are created for musical narrative and further storytelling when creating musical theatre. / <p>Inkluderat som bilaga för detta självständiga arbete är ett videoklipp med utvalda delar från musikalfilmen <em>HAZEL - An Extravagant Musical</em>, som arbetet resulterat i.</p>

Submitted by Renan Branco Ruiz null (renan@guerrilhagig.com) on 2017-09-05T13:01:07Z No. of bitstreams: 1 RUIZ,R.dissertacao(revmaisfinal).pdf: 1515542 bytes, checksum: 83decdc838aa502202e32feac7ff021f (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-09-06T15:49:52Z (GMT) No. of bitstreams: 1 ruiz_rb_me_fran.pdf: 1515542 bytes, checksum: 83decdc838aa502202e32feac7ff021f (MD5) / Made available in DSpace on 2017-09-06T15:49:52Z (GMT). No. of bitstreams: 1 ruiz_rb_me_fran.pdf: 1515542 bytes, checksum: 83decdc838aa502202e32feac7ff021f (MD5) Previous issue date: 2017-08-16 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP) / Esta dissertação teve como objetivo reconstruir e analisar a trajetória artística do Grupo Um (1976 - 1984) a partir de duas perspectivas complementares. Pela primeira delas, foram interpretados os impasses encontrados pelo conjunto para possibilitar a gravação, a prensagem e a distribuição de seus três álbuns lançados entre 1979 e 1982, à luz das intensas transformações da indústria fonográfica brasileira desse período. Na busca por apoio para a viabilização de seus trabalhos, os integrantes do conjunto potencializaram a retórica de produção musical independente, que ganhava força nesse mesmo período. Mantiveram, também, intensas aproximações com o Centro de Promoções Artísticas Lira Paulistana, e uma relação nuançada com a construção da ideia de vanguarda paulista. A segunda perspectiva de análise recai sobre as proximidades e distanciamentos entre a música produzida pelo Grupo Um e a fricção de musicalidades presente no jazz brasileiro. Para tanto, foi realizado um panorama da evolução jazzística durante o século XX, situando o cenário da virada dos anos 1970 para os anos 1980 no Brasil e no mundo. Além disso, alguns aspectos da obra discográfica do conjunto foram assinalados no intuito de refletir e discorrer sobre os possíveis sentidos de sua utilização naquele momento, a partir dos elos com o estilo fusion de jazz. / This dissertacion intended to rebuild and to analyse the artistic trajectory of the ensemble Grupo Um (1976 - 1984) following two complementary perspectives. The first one has interpreted the standoffs founded by the group in order to make it viable the recording, pressing and selling, of its three albuns between 1979 and 1982, surrounded by the intense transformation of the brazilian phonographic industry at the time. At the searching for supporting to make it viable, they have potentialized the rhetorics of independent musical production, that was gaining force at the same period. They manteined, also, intense aproximations with the Centro de Promoções Artísticas Lira Paulistana and nuances with the construction of the very idea of the vanguarda paulista. The second perspective of analyses lies in the approximation and distancing of the music produced by Grupo Um and the friction of musicalities that were present in the brazilian jazz. Therefore, a panoram of the jazz evolution in the 20th century was made, situating the turning point scenario of the 1970's in Brazil and in the world. Besides that, some aspects of the ensemble discography are pointed out in the will to reflect and punctuate about its possible meanings of utilisation at that moment, regardening its ties with the jazz fusion style. / FAPESP: 2015/09829-3

En este documento se encontrará información relevante acerca de los procesos que se realizan para musicalizar y diseñar todo el sonido implementado en spots publicitarios audiovisuales de Estados Unidos y las adaptaciones de estos en los comerciales peruanos entre los años 1970 y 2020. Empezaremos investigando cómo se ha venido desarrollando la música publicitaria en ambos países desde su primera aparición en Estados Unidos y en Perú. Esto nos permitirá conocer todo el recorrido que ha tenido esta industria. Luego, analizaremos distintos comerciales de ambos países por cada década desde 1970 hasta 2020, para así poder conocer las tendencias que han aparecido en cada país y en cada época. Además, analizaremos dos campañas publicitarias que han sido transmitidas tanto en Estados Unidos como en Perú manteniendo algunos elementos sonoros y visuales, pero también incluyendo ciertos cambios relevantes en la música. De esta manera podremos dar hipótesis del por qué ciertos elementos son tomados en un mercado y no en el otro, así como la implementación de distintos géneros musicales en cada propuesta. Por otro lado, se investigará acerca de otros aspectos técnicos necesarios para poder realizar trabajos de calidad como el estándar de volumen que se debe utilizar para todo tipo de trabajo en un medio de comunicación. También se explicará cómo están conformados los equipos de trabajo de las casas de audio y la labor que realiza cada uno de los miembros. Además, estudiaremos las estrategias implementadas por los estudios de audio publicitario más representativos de los dos países, lo cual nos permitirá profundizar en los métodos que utilizan para realizar cada pieza musical y diseño sonoro para los spots publicitarios. / In this document you will find relevant information about the processes that are carried out to set music and make the sound design for audiovisual advertising in the United States and the adaptations of these in Peruvian commercials between the years 1970 and 2020. We will start investigating how advertising music has developed in both countries since its first appearance in the United States and Peru. This will allow us to know the whole journey that this industry has taken. Then, we will analyze different commercials from both countries for each decade from 1970 to 2020, in order to know the trends that have appeared in each country and in each decade. In addition, we will analyze two advertising campaigns that have been broadcast in the United States and Peru, maintaining some sound and visual elements, but also including certain relevant changes in music. In this way we will be able to hypothesize why certain elements are taken in one market and not in the other, as well as the implementation of different musical genres in each proposal. On the other hand, other technical aspects necessary to be able to carry out quality work will be investigated, such as the volume standard that should be used for all types of work at media. It will also explain how the workers of the music production studios are made up and the work carried out by each of the members. In addition, we will study the strategies implemented by the most representative advertising audio studios in the two countries, which will allow us to deepen the methods they use to make each piece of music and sound design for advertising spots. / Trabajo de investigación

Este trabajo de investigación, mediante el uso de un profundo análisis histórico y musical, pretende determinar el papel del hip hop dentro de la música popular norteamericana. Para esto, se estudiará la historia del hip hop desde su surgimiento durante los años setenta, siguiendo su evolución y analizando a sus principales representantes, con el objetivo de descubrir cuál era la forma de trabajo de cada uno de ellos, pudiendo así, rescatar técnicas importantes que son fundamentales para el desarrollo del género, para finalmente, generar un concepto general de lo que significa el hip hop, musicalmente hablando. Posteriormente, se realizará un estudio similar con el mainstream pop norteamericano, centrándose especialmente en el aspecto musical, tomando como punto de partida sus influencias principales. A partir de los conceptos adquiridos durante este proceso, también se creará un concepto general, que envuelva, no solo los aspectos formales/musicales, sino también, los criterios estéticos que puedan ser útiles para finalmente comparar al mainstream pop con el hip hop. El resultado de esta investigación, revelará de la forma más profunda posible, la relación entre la música pop y el hip hop, una forma musical que durante mucho tiempo fue considerada de ghetto. Evidenciando, no solo la constante evolución de la música popular en el tiempo, sino la trascendencia de la música urbana afroamericana en la cultura popular de Estados Unidos y el mundo occidental. / This investigation, via the use of deep historical and musical analysis, has the objective of deciding the role of hip hop in today’s north american popular music. For this matter, we will study hip hop’s history, since it’s first appearance during the 70’s, following it’s evolution and getting to know it’s main representatives, attempting to discover their workflows, whilst rescuing fundamental techniques for the gender’s developement, finally coming to a general concept that wraps up everything hip hop means, musically speaking. Afterwards, an equally thourough studie will be made for mainstream pop, focusing specially on the musical side of it; taking its roots and influences as the main starting point. By these means, we will attempt to create a general concept that wraps up, not only the musical/formal aspects, but the aesthetic criteria that we may find useful to make a final comparison between hip hop and masintream pop. The result of this investigation will reveal in the thougroughest way posible, the relationship between north american popular music with a musical form that for a long time was considered “of the ghettos”. Proving, not only the constant evolution of the USA’s popular culture, but the transcendence of urban afro-american music in North America’s and all western world’s popular culture. / Trabajo de investigación

La question centrale de cette recherche s’inscrit dans la foulée des problématiques autour de la patrimonialisation, de la performance et de la mise en scène des pratiques musicales. Elle vise plus précisément à comprendre comment et pourquoi les Judéo-espagnols de France, installés depuis le début du XXe siècle, utilisent les pratiques singulières des musiciens et chanteurs professionnels majoritairement externes à la communauté pour revendiquer leur patrimoine musical collectif et affirmer leur identité. La chercheuse replonge dans le passé afin de saisir comment le répertoire musical s’est construit et est devenu un objet quasiment exclusif au monde de l’art, alors qu’il reste associé aux répertoires dits « traditionnels ».En vue d’interroger la judéo-hispanité musicale et déterminer ce qui la caractérise au présent, une ethnographie multi-site auprès des artistes et de la communauté est proposée. Enfin, pour comprendre le sens des pratiques, différents espaces de performance sont examinés à partir de l’analyse des interactions entre les pôles de production et de réception, en cohérence avec le contexte général de la pratique et de l’ensemble des paramètres performanciels. La conclusion révèle notamment que la relation entre les artistes et la communauté génère un nouvel espace familial intimiste et que chacun des espaces forme un système interrelationnel dont l’interaction permet de produire un équilibre qui consiste à faire vivre et à investir le patrimoine musical au présent. Par ce biais, c’est notamment la problématique des catégories musicales(musiques populaires, musiques traditionnelles, musiques de scène) reliées aux espaces de pratique qui est interrogée. / The central question of this research follows the problematic of patrimonialization (heritization),performance and mise en scene of musical practices. It aims, more precisely, to understand how and whyJudeo-Spanish people settled in France since the early twentieth century, use individual practices ofprofessional musicians and singers who are predominantly external to the community to reclaim theircollective musical patrimony and affirm their identity. The researcher returns to the past in order tounderstand how this musical repertoire was constructed, and how it came to be almost exclusive to the artworld, even though it is still associated to with the traditional music repertoire. Moreover, in order toquestion the Judeo-Spanish nature of the music and determine what presently characterizes it, a multi-siteethnography of the artists and the community is proposed. Finally, with a view to understanding themeaning of these practices today different spaces of performance are examined, especially the interactionbetween the poles of production and reception, in a general context, and through an examination of theparameters of its performance practice. One of the conclusions reveals that the constant relationshipbetween the artist and the community generates a new kind of space for family and that each spaceconstitutes an inter-relational system, thus constructing an interactive equilibrium, which keeps the musicalpatrimony alive. In this way, it is the problematic of musical categories (e.g. popular music, traditionalmusic, staged music), related to spaces of practice, which is interrogated.