Considerando todos os avanços tecnológicos pelos quais a fonografia passou desde sua invenção, em 1877, por que persistem registros sonoros de baixa definição? Para enfrentarmos essa questão, propomos encarar o lo-fi como um objeto comunicacional, de modo a compreender, a partir de sua linguagem, como ele modeliza a música pop. O lo-fi é reconhecido em senso comum pelo uso de equipamentos de áudio e instrumentos musicais deteriorados, obsoletos ou sucateados. Nesta tese, problematizamos essa noção. Logo de saída, desprendemos o lo-fi do determinismo tecnológico, passando ele a significar outras práticas, linguagens, políticas, estéticas e discursos. Para compreender esse panorama, evitamos uma construção linear ou mesmo histórica. Ao invés disso, mapeamos diversos agenciamentos de baixa definição simultâneos que se processam ao longo da história, circunscrevendo como objeto empírico canções registradas fonograficamente e que promovem algum tipo de desterritorialização do regime de signos institucionalizado pelo mainstream, o que nos leva ao seguinte objetivo geral: compreender o lo-fi como uma virtualidade que age na comunicação fonográfica, isto é, como uma máquina abstrata que não só se diferencia de si própria, mas também produz diferença na música pop. Para dar conta desse objetivo geral, desenvolvemos os seguintes objetivos específicos: (1) evidenciar a presença dos suportes fonográficos, instrumentos musicais e demais aparelhos tecnológicos na paisagem sonora das canções lo-fi; (2) mapear e sintetizar os diferentes sistemas culturais que, postos em relação, edificam a semiosfera de onde o lo-fi emerge como um novo sistema; (3) mapear os territórios de significação agenciados pelas imagens sonoras de baixa definição em canções lo-fi; (4) analisar a capacidade dessas imagens sonoras de promover agenciamentos de baixa definição na música pop; (5) descrever o diagrama da máquina abstrata lo-fi, seus modos de funcionamento e de modelização da música pop. Organizamos as análises em platôs, que percorrem diferentes linhas de variação contínua de significação efetuadas pelos agenciamentos de baixa definição. Ao final, descrevemos os modos de funcionamento da máquina abstrata lo-fi. Ao longo do estudo, também revisitamos e refletimos sobre teorias relacionadas ao assunto, como ecologia acústica, materialidades da comunicação, arqueologia da mídia, afecto, semiótica e a filosofia da diferença de Gilles Deleuze e Félix Guattari. Como resultado, esperamos contribuir para as teorias da comunicação com reflexões referentes às noções de fidelidade, resolução, ruído, percepção sonora e, em especial, para a constituição de um modelo comunicacional micropolítico, reconhecido nos processos de diferenciação de nosso objeto de estudo. A baixa definição, defendemos, manifesta-se entre estados regulares da música pop, desestabilizando seus ritmos regulares, forçando seu núcleo a modificar sua estratégia para lidar com a diferença. Imagens sonoras lo-fi são institucionalizadas pela música pop, mas isso acaba por gerar outras imagens sonoras potenciais. A baixa definição segue, assim, resistindo aos regimes de signos impostos pelos movimentos hegemônicos da música pop, sempre propondo arrebatamentos e estabelecendo modos de comunicar imprecisos, distorcidos, violentos. / Considering every technological advance phonographic recording has achieved since its invention in 1877, how come low definition sound recordings still exist (and persist)? To face such question, we treat lo-fi as a communicational object, in order to comprehend, from its language, how it models pop music. Lo-fi is recognized by common sense as the use of either scraped, obsolete, or spoiled audio and/or music equipments. In the present dissertation, we question and problematize such notion. From the start, lo-fi is set loose of its technological determinism, so it can be understood as different practices, languages, politics, aesthetics and discourses. To comprehend such a perspective, we avoid linear or historical approaches. Instead, several simultaneous low definition agencements processed throughout history are mapped, where we look for recorded songs that promote some kind of deterritorialization of the regime of signs institutionalized by the mainstream, which leads us to the following general objective: to comprehend lo-fi as a virtuality that acts on phonographic communication, that is, as an abstract machine that not only differs from itself, but also produces differentiation in pop music as well. To unravel this general objective, we established the following specific objectives: (1) to point out the presence of phonographic supports, musical instruments and other technological devices in the soundscape of lo-fi songs; (2) to map and to synthesize the different cultural systems that, when put in relation to each other, build a semiosphere from where lo-fi emerges as a new system of its own; (3) to map the territories of signification produced by agencements of low definition sound images; (4) to analyze the capacity of such sound images in promoting low definition agencements in pop music; (5) to describe the diagram of lo-fi’s abstract machine, its operating modes and pop music modelizations. The analyses are organized in plateaus that roam different lines of continuous meaning variations elicited by low definition agencements. At the end, we describe the modes of operation of the lo-fi abstract machine. Throughout the research, we also revisit and speculate about theories regarding the subject: acoustic ecology, materialities of communication, media archaeology, affect, semiotics and Deleuze and Guattari’s philosophy of difference. As a result, we expect to contribute to the theories of communication, specially concerning the notions of fidelity, resolution, noise, sound perception and, last but not least, to contribute to the construction of a micro-political communication model, recognized in the processes of differentiation of our object of research. As we advocate, low definition manifests itself between pop music’s regular states, destabilizing its regular rhythms, forcing its core to modify its strategy to deal with the difference. However, pop music institutionalizes lo-fi sound images, but that movement ends up generating other potential lo-fi sound images in the lo-fi system. Therefore, low definition follows, resisting to the regimes of signs imposed by pop music’s hegemonic movements, developing new ways of ravishments and establishing fuzzy, distorted, violent, inaccurate modes of communication.

Devido à longa tradição da arte de tocar trompete e da evolução que ocorreu com o instrumento ao longo dos séculos, o trompete passou a ser utilizado como instrumento de referência na família dos metais, bem como a ocupar posição de solista em recitais e concertos. Técnicas para seu aprendizado foram criadas e aperfeiçoadas com mais rapidez e passou a ser utilizado em outros estilos musicais, particularmente no Jazz. O caminho que indicamos para a formação técnica e musical de um trompetista é o mesmo, independentemente do estilo em que pretenda atuar. Um trompetista sem formação técnica e sem cultura musical consegue tocar, mas não consegue se expressar. / Owing to the long tradition of the trumpet playing art and the instruments evolution over the centuries, trumpet has become a reference in the brass family and it has occupied a soloist position in recitals and concerts. Learning techniques have been more rapidly created and perfected, and its use has been extended to other musical styles, especially Jazz. The path we recommend to a trumpeter for acquiring their musical and technical qualification is the same, regardless of their style of choice. A trumpeter with no technical qualification and musical culture may be able to play, but they will not be able to express themselves.

No description available.

Det här är ett konstnärligt arbete som handlar om att producera popmusik influerad av Steve Reichs minimalistiska verk. Det inleddes med en analys av de musikaliska parametrarna harmonik, rytmik och klangfärg i tre av Reichs verk. Med resultatet från analysen som mall skapades sedan nya produktioner till tre poplåtar. Poplåtarna skrevs av författaren innan starten för detta arbete. Resultaten blev av varierande kvalitet. I vissa fall upplevde författaren att det mest lät som att man lyssnade på två låtar samtidigt. När författaren tog egna initiativ och lät ljudbilderna smälta samman mer upplevde han dock att resultatet blev bättre. I de fallen påstår han att musiken blev någonting mer än bara honom själv + Reich, den blev någonting nytt och helt unikt!

This research seeks to understand how emotion and pleasure connect with Elton John's music. First, I argue that enjoyment of this music arises in part when on how listener's expectations for harmonic and melodic musical parameters are subverted. This research draws primarily on David Huron's theory of expectation to show how music that deviates from expected norms can be re-evaluated positively. In addition to Huron, I draw on empirical psychology studies that have determined a number of musical correspondences to emotional evocations. Throughout my analyses, I examine how specific chord placement may incite emotion for the typical listener of pop/rock music, and I contend that those specific chords and their placement reliably create emotions that are linked to enjoyment. I also find that elements like melodic contour, repetition, and perceptual salience play a significant role in shaping the listener's reactions to musical stimuli. In the second half of the dissertation, I use empirical research studies to help me address the physiological element of musical listening and enjoyment. I find that listeners use their bodies to entrain to rhythm and react to musical stimuli through laughter, tears, and frisson. Additionally, I investigate the embodiment of music and emotion through the bodily experience of Elton John as a pianist and singer. My analyses explore embodied emotional gestures on the keyboard and how those gestures bear on the listener's emotional connection to the music. Lastly, I speculate about how Elton's vocal gestures influence song expression and emotional evocation. This investigation of bodily reactions to music explores how the body might enjoy certain aspects of music and how bodily enjoyment factors into emotion. Ultimately, I argue that Elton John's music is enjoyable and incites emotion because of violation or validation of harmonic and melodic expectations, and because of emotionally laden bodily and vocal gestures perceived by the listener.

No description available.

<p>The purpose of this BA-thesis was to study how three daily Swedish newspapers use a specific type of exemplars, which are recognized by a number of attributes. A photograph of the person that is interviewed always illustrates this type of exemplars and at least two persons are asked the same question.    The three newspapers that have been compared in this study each represent one of the major types of Swedish newspapers: morning press, tabloids and local press. By using a quantitative content analysis, one month was examined in all three newspapers in the year of 1997 and 2007.  Two of the theories that have been central in the thesis are Colin Sparks model of tabloidization, which demonstrates the process of tabloidization and McQuail′s description of commercialization.  The results of the study indicate that there are many similarities between the three newspapers use of exemplars. However, there are some differences when it comes to frequency and function. Noteworthy is that the newspaper “Dagens Nyheter” did not publish a single exemplar the first year of the study, 1997. Ten years later the very same paper published 15 exemplars during the month of examination.</p>

Cette th��se ��tudie le parall��le ��tabli par les chercheurs et les sp��cialistes de la litt��rature compar��e entre Esfandiy��r et Achille. L'objectif majeur de cette ��tude est de savoir si le po��te iranien Ferdowsi ��tait sous l'influence de son homologue grec, l'a��de de l'Iliade et l'Odyss��e, lors de la cr��ation de son ��uvre le Chahnameh, ��pop��e nationale persane, et plus pr��cis��ment du h��ros de celle-ci, Esfandiy��r. L'��tude de la figure d'Esfandiy��r suivie de celle de l'oiseau l��gendaire S��morgh, de celle de Rostam, le meurtrier du prince kayanide, et enfin, l'��tude de l'espace mythique du Sist��n font l'objet de la premi��re partie de la th��se. Dans la deuxi��me partie, nous ��tudions de fa��on d��taill��e le parall��le existant entre Achille et Esfandiy��r tel qu'il a ��t�� propos�� par les chercheurs ��trangers et iraniens en tentant une approche plus minutieuse et approfondie de cette ��tude �� propos du h��ros grec Achille. La troisi��me partie propose une nouvelle approche comparative des h��ros dans laquelle sera ��tudi��e, �� c��t�� de la figure d'Achille et de celle d'Esfandiy��r, celle d'un troisi��me h��ros, Gilgamesh appartenant �� la tradition m��sopotamienne. Cet ��largissement a pour but de se demander si les traits que les chercheurs pr��c��dents ont d��gag��s comme preuves ou indices du parall��le entre Achille et Esfandiy��r, puisqu'ils se retrouvent au moins en partie chez Gilgamesh, ne sont pas tout simplement caract��ristiques du h��ros ��pique et repr��sentatifs du genre de l'��pop��e.

Cette th��se ��tudie le parall��le ��tabli par les chercheurs et les sp��cialistes de la litt��rature compar��e entre Esfandiy��r et Achille. L'objectif majeur de cette ��tude est de savoir si le po��te iranien Ferdowsi ��tait sous l'influence de son homologue grec, l'a��de de l'Iliade et l'Odyss��e, lors de la cr��ation de son ��uvre le Chahnameh, ��pop��e nationale persane, et plus pr��cis��ment du h��ros de celle-ci, Esfandiy��r. L'��tude de la figure d'Esfandiy��r suivie de celle de l'oiseau l��gendaire S��morgh, de celle de Rostam, le meurtrier du prince kayanide, et enfin, l'��tude de l'espace mythique du Sist��n font l'objet de la premi��re partie de la th��se. Dans la deuxi��me partie, nous ��tudions de fa��on d��taill��e le parall��le existant entre Achille et Esfandiy��r tel qu'il a ��t�� propos�� par les chercheurs ��trangers et iraniens en tentant une approche plus minutieuse et approfondie de cette ��tude �� propos du h��ros grec Achille. La troisi��me partie propose une nouvelle approche comparative des h��ros dans laquelle sera ��tudi��e, �� c��t�� de la figure d'Achille et de celle d'Esfandiy��r, celle d'un troisi��me h��ros, Gilgamesh appartenant �� la tradition m��sopotamienne. Cet ��largissement a pour but de se demander si les traits que les chercheurs pr��c��dents ont d��gag��s comme preuves ou indices du parall��le entre Achille et Esfandiy��r, puisqu'ils se retrouvent au moins en partie chez Gilgamesh, ne sont pas tout simplement caract��ristiques du h��ros ��pique et repr��sentatifs du genre de l'��pop��e.

The miscommunication between sender and receiver during transcoding indexes specific historical moments similarly to analog film's indexical trace. Iconography and glitch art begin to establish glitch's deictic index. The glitch aesthetic exposes societal paranoia by illustrating dependence on the digital and fear of system failure. With the advent of video sharing sites like Youtube and popular cyberfilms, the glitch aesthetic has evolved into a pop culture artifact.