Denna studie undersöker hur känslor kan förmedlas och förändras vid byte av genre på en låt. Studien har genomförts genom designforskning och en fallstudie med fokusgrupp. Forskningsstudien bygger på en pop-låt som skrivits och producerats för denna studie och som sedan även producerats i genren melodisk dödsmetall. Undersökningen har gått ut på att identifiera om det sker några eventuella förändringar i de känslor som kan uppstå mellan dessa båda genrer. Forskningsresultatet visar att det är möjligt att förmedla samma känsla mellan olika genrer men att känsloyttringarna överlag varierade kraftigt mellan de två versionerna.

Ce mémoire s’intéresse aux fans d’un phénomène encore mal connu au Québec. En effet, la vague coréenne surnommée le hallyu a atteint — notamment à travers la K-pop — un public féminin au sein du Québec, sans que nous en connaissions les tenants et les aboutissants. Cette recherche s’articule autour du souhait d’obtenir une meilleure compréhension de l’intérêt que portent les admiratrices québécoises envers la culture musicale coréenne et souhaite comprendre les conséquences de cette passion sur leurs quotidiens. Ainsi, on découvre que l’appréciation de la musique coréenne engendre celle de la culture coréenne et résulte en plusieurs formes d’appropriation à travers l’apprentissage du coréen, l’intérêt pour les produits de divertissements télévisuels, la connaissance des us et coutumes et le goût pour la cuisine coréenne. Cette appropriation provoquée par le soft power coréen contribue à la construction identitaire des admiratrices de K-pop. En effet, ce mémoire révèle que les interlocutrices intègrent de nouveaux critères de beauté, s’inspirent des valeurs confucéennes coréennes, se considèrent plus tolérantes et ont le souhait de voyager en Corée du Sud, voire d’y séjourner pour une longue durée.

This thesis challenges common assumptions of trans moving images by applying theories of identification to an autoethnographic close reading of three specific texts – Hedwig and The Angry Inch (John Cameron Mitchell, 2001), Dallas Buyers Club (Jean- Marc Vallée, 2013) and Transparent (Jill Soloway, 2014) - considered by both mainstream and queer audiences to feature transgender characters and experiences. This thesis, while limited to the author’s experience as a trans woman, attempts to advance the argument that identification with trans moving images may change with one’s transition and require a reassessing of “what is trans” along with resituating the trans spectator from “object of the gaze” to “bearer of the look” (Mulvey, 1975).

Through an examination of 402 songs that charted in the top 20 of the Billboard year-end charts between the years 1990 and 2009, this dissertation builds upon previous research in form of popular song by addressing the following questions: 1) How might formal sections be identified through melody, harmony, rhythm, instrumentation, and text? 2) How do these sections function and relate to one another and to the song as a whole? 3) How do these sections, and the resulting formal structures, relate to what has been described by previous theorists as normative? 4) What new norms and trends can be observed in popular song forms since 1990? Although many popular songs since 1990 do follow well-established forms, some songwriters and producers change and vary these forms. AAA strophic form, AABA form, Verse-Chorus form, Verse-Chorus with Prechorus and/or Postchorus sections, Verse-Chorus-Bridge form, “Other, with a Chorus” and “Other, without a Chorus” forms are addressed. An increasing number of the songs in each of the above listed forms are based on a repeating harmonic progression or no harmonic progression at all. In such songs, the traditional method of identifying sections and section-functions through harmonic analysis is less useful as an analytical tool, and other musical elements (melody, rhythm, instrumentation, and text) are as important, if not even more so, in determining the form of songs in the sample.

Den här studien ämnade undersöka utommusikaliska dimensioner av gymnasieskolans ensembleundervisning, med fokus på pop- och rockensemble. Ambitionen var att identifiera möjliga roller och identiteter hos elever för att synliggöra eventuella maktrelationer. Detta för att bidra till ökad kunskap i strävan efter en jämlik och inkluderande musikundervisning. Datainsamlingen skedde genom enskilda semistrukturerade intervjuer och fokusgrupper med gymnasieelever vid estetiska programmet. Dessa transkriberades till text och analyserades tematiskt utifrån diskursteorins begreppsapparat.  Resultatet visar ojämlika maktrelationer där framför allt gruppbildningar utifrån könsidentitet och instrument avgör vilka som kan inta attraktiva positioner och roller. Dessa maktrelationer upprätthålls genom att utesluta subjekt och grupper som kan förstås som motsatser. Vidare synliggör resultatet att ensembleformatets utgångspunkt i genrepraktiken pop- och rock kan ses som en anledning till att normer och stereotyper upprätthålls. Slutsatserna visar ett behov av en breddad undervisningsrepertoar, en bredare representation samt en ökad social medvetenhet bland lärare och elever. / This study intended to examine the extra-musical dimensions of upper secondary school ensemble teaching, pop and rock in particular. The ambition was to identify the student’s possible roles and identities in order to make any power relations visible in order to contribute to increased knowledge in the pursuit of an equal and inclusive music education. Data collection was made through individual semi-structured interviews and focus groups with students off the upper secondary high school arts program. These were transcribed into text and analyzed thematically based on the concepts of discourse theory. The results show unequal power relations where, above all, group formations based on gender and instruments are the decisive factor in who can take attractive positions and roles. Positions of power are maintained by excluding other groups that can be understood as opposites. Furthermore, the results show that the ensemble’s starting point in the practice of pop -and rock genre can be seen as a reason for norms and stereotypes to be maintained. The conclusions show a need for a broader teaching repertoire, a broader representation and an increased social awareness among teachers and students.

This dissertation considers Jef Geys as an archivist of the cultural shifts of the ’60s and ’70s in Europe amidst the reception of American Pop in Belgium. Between these decades, Geys archived and played back the social and cultural effects of Pop to engage with the newly defined middle class that was constructed to account for and implement changes in both professional and social settings. Geys’s archive was instrumental in his roles as an artist and educator and he used it to reinterpret the implications of Pop. Geys’s consideration of Pop expanded its implications to test Pop’s institutional and social alignments in relation to the question of geography and population.

Pop-up retail was first introduced as a new marketing concept in 2003, but it only appeared in South Africa in 2008. Pop-up retail is still viewed as an innovation in South Africa. It entails the opening of a tentative store, located in a unique space or venue, offering the opportunity for product trial and “one-of-a-kind” store experiences through the use of unique venues. Pop-up stores are temporary and their opening is mostly unannounced (OPEN TEXT CORPORATION, 2008c:4). Consumers are forced to make quick decisions to either visit the store or not, as these stores have a limited lifespan. Pop-up retail offers an entertaining and satisfactory retail environment and may provide a solution for retailers to survive fierce competition. The purpose of this study was to explore the relationships between characteristics of the innovation (relative advantage, trialability, observability, low complexity, compatibility), internal factors (mood or emotional state, hedonic desires, consumer innovativeness), an external factor (exterior store design) on the one hand, and young South African consumers‟ impulse intention to visit a pop-up store on the other. An exploratory survey research design was followed. Data was collected by means of a structured, self-administered questionnaire developed from existing scales. It was administered to a convenience sample of 523 South African students. Confirmatory factor analyses were done to validate the latent underlying variables for the hybrid model. Pearson‟s correlation coefficient test was run for testing various hypotheses, establishing the correlation between the independent variables and the dependent variable. Values of the correlation coefficient ranged between 0.39 and 0.61, indicating a positive correlation between the independent variables and the impulse intention to visit a pop-up store. All the correlations were significant at the 1% level (p-value < 0.0001). Multiple regression analysis was employed to test and quantify the relative contribution of the multiple independent variables to predicting impulse intention to visit a pop-up store. The findings indicated that all the hypotheses developed for the study were supported. Characteristics of an innovation, internal factors and external factors were proven to play a role in young South African consumers‟ impulse intention toward pop-up retail. Observability, compatibility, consumer innovativeness and exterior store design appeared to be more predictive of consumers‟ impulse intention to visit pop-up stores. The study was limited to students enrolled at only two tertiary institutions in South Africa. Further research is needed at tertiary institutions in other cities in the country. The study focused only on impulse intention to visit pop-up stores in South Africa and future research is needed to study the different forms of pop-up retail to determine the most effective ones locally, as well as the behaviour of consumers visiting an actual pop-up store. Retailers making use of pop-up stores should include unique products, engaging experiences, signage and trial opportunities for consumers. Store design should be eye-catching, hedonically pleasing and explorative, with moderate complexity to attract innovative consumers and result in optimum success. / Dissertation (MConsumer Science)--University of Pretoria, 2012. / gm2014 / Consumer Science / unrestricted

Esta investigación busca brindar un mejor entendimiento de los consumidores de medios audiovisuales coreanos. Además, de analizar e identificar qué elementos hacen de los K-Dramas y videos musicales de K-Pop sean tan atractivos para el público juvenil peruano que pertenece a la comunidad Hallyu en Lima que se forma a partir de la recepción de contenidos audiovisuales coreanos. Por otro lado, busca saber cómo y en qué medida los productos audiovisuales, en este caso coreanos, son capaces de influir en la construcción de identidades y promover la socialización en este público en específico. / This research seeks to provide a better understanding of the consumers of Korean audiovisual media. In addition, to analyze and identify what elements make the K-Dramas and K-Pop music videos so attractive to the Peruvian youth audience that it belongs to the Hallyu community in Lima that it is formed from the reception of Korean audiovisual content. On the other hand, it seeks to know how and to what extent audiovisual products, in this case Koreans, are able to influence the construction of identities and promote socialization in this specific audience. / Tesis

This thesis is a short story collection revolving around the central theme of pop culture. The first story, "After the Win," follows the character Cecil, whose wife Rhonda has recently won The Great British Bake Off. Trouble ensues in Cecil and Rhonda's family as Rhonda starts to focus on her post-Bake Off fame instead of her relationships with her husband and daughter. "Making Friends with a Monster" is about Rick, a half-human, half-lake monster living on the shores of Bear Lake. Because of his existence in an in-between place between man and monster, Rick struggles to find companionship in life. That is, until Anna (AKA the Loch Ness Monster) arrives in his lake and presents him with an enticing offer: to return with her to Loch Ness. The story culminates in Rick's decision. The next story, "The Fourth Wall," is the story of Max and Abby, who are close to getting engaged. Max confronts Abby about her family, who she has never told him much about. Finally, she agrees to take him for a visit to meet her parents. As soon as Max arrives, it becomes apparent that Abby's parents believe they are Ricky and Lucy from the beloved sitcom I Love Lucy, and Max is soon sucked in to the illusion. The last story in the collection is "Feelin' Groovy in Point Pleasant, West Virginia,"which is the tale of a Simon and Garfunkel tribute band that encounters the legendary Mothman monster in Point Pleasant, West Virginia, who happens to be an avid Simon and Garfunkel fan.

This thesis is a short story collection revolving around the central theme of pop culture. The first story, "After the Win," follows the character Cecil, whose wife Rhonda has recently won The Great British Bake Off. Trouble ensues in Cecil and Rhonda's family as Rhonda starts to focus on her post-Bake Off fame instead of her relationships with her husband and daughter. "Making Friends with a Monster" is about Rick, a half-human, half-lake monster living on the shores of Bear Lake. Because of his existence in an in-between place between man and monster, Rick struggles to find companionship in life. That is, until Anna (AKA the Loch Ness Monster) arrives in his lake and presents him with an enticing offer: to return with her to Loch Ness. The story culminates in Rick's decision. The next story, "The Fourth Wall," is the story of Max and Abby, who are close to getting engaged. Max confronts Abby about her family, who she has never told him much about. Finally, she agrees to take him for a visit to meet her parents. As soon as Max arrives, it becomes apparent that Abby's parents believe they are Ricky and Lucy from the beloved sitcom I Love Lucy, and Max is soon sucked in to the illusion. The last story in the collection is "Feelin' Groovy in Point Pleasant, West Virginia,"which is the tale of a Simon and Garfunkel tribute band that encounters the legendary Mothman monster in Point Pleasant, West Virginia, who happens to be an avid Simon and Garfunkel fan.