Made available in DSpace on 2015-03-05T18:23:09Z (GMT). No. of bitstreams: 0 Previous issue date: 24 / Bolsa para curso e programa de Pós Graduação / Essa dissertação trata da questão da radiodifusão de música no Brasil, focando atenção na prática conhecida como jabá, através da qual se estruturam as relações entre a indústria fonográfica e os meios de comunicação. Trata-se, mais especificamente, da análise da programação das rádios Atlântida, Jovem Pan e Pop Rock, emissoras que lideravam a audiência entre os jovens na cidade de Porto Alegre no período de observação, abril, junho e agosto de 2005. A pesquisa analisa como é organizado e difundido o mercado de música destinada ao público jovem no Brasil, a partir destes três casos, suas implicações econômicas e sociais e como esta realidade se estrutura, baseada na acumulação de capital e sua vinculação ao grande mercado fonográfico mundial. Para tanto discute o processo de globalização e o atual estágio do capitalismo, focando a relação entre o campo econômico e o campo da comunicação, porque é nessa intersecção que reside a construção de um modelo hegemônico de produção e circulação de capital. O estudo, c / This dissertation studies the issue of music broadcasting in Brazil, focusing in the known practice called payola, through which the relations between the music industry and the means of communication are structured. It is, more specifically, an analysis of the program schedule of Atlântida, Jovem Pan and Pop Rock radio stations, which were the stations with the leader audience among young people in the city of Porto Alegre during the observation period, April, June and August 2005. This research analyses how the music market aimed at the young audience in Brazil is organized and diffuse, taking the three cases above, studying their economic and social implications; and how this reality is structured, based on the capital accumulation and its connection with the large phonographic market worldwide. In order to do that, this project discusses the globalization process and the current stage of capitalism, focusing on the relation between the economic field and the communication field, because it is in this inte

Die theoretische Auseinandersetzung mit Musik vergangener Epochen löst in Schule und Musikhochschule selten Begeisterung aus. Zu weit scheint sie wegzuführen von den typischen Hörgewohnheiten und der Musizierpraxis junger Menschen. Doch gerade populäre Gegenwartsmusik bietet eine Vielfalt an Möglichkeiten, Schüler*innen und Studierende an Inhalte von Musikwissenschaft und historisch informierter Musiktheorie heranzuführen, denn Rock, Pop und Filmmusik beziehen sich durch Zitate, tradierte Wendungen und Topoi auf Jahrhunderte europäischer Musikgeschichte. Vor dem Hintergrund der nahezu unbegrenzten medialen Verfügbarkeit von Werken verschiedenster Epochen und Stilrichtungen ergeben sich in diesen Genres zahllose Möglichkeiten der Kombination solcher Elemente. Historische Bezüge in aktueller Musik beinhalten die Chance, junge Menschen für musikalische Strukturen und ihre historischen Dimensionen zu sensibilisieren. Darüber hinaus bietet die Verschmelzung kontrastierender stilistischer Merkmale innovatives Potenzial für das Live-Arrangement mit leistungsheterogenen Gruppen. Anhand kurzer Beispiele werden Einsatzmöglichkeiten populärer Titel in der Unterrichtspraxis vorgestellt. / Theoretical study of the music of past epochs rarely triggers great enthusiasm at schools or conservatories. It seems to lead away from the typical listening habits and musical practices of young people. But contemporary popular music provides many opportunities to introduce students into essential fields of musicology and historically informed music theory. Rock, pop and film music relate to centuries of European music history by using citations, inherited idioms, and topoi. Against the background of unlimited availability of compositions of different epochs and styles in the media, countless opportunities to combine such elements can be observed in these genres. Historical references in current musics provide the chance to sensitize young people for musical structures and their historical dimensions. Furthermore, the fusion of contrasting stylistic characteristics bears innovative potential that teachers can use for live arrangement in school classes and groups with heterogeneous capabilities. This article introduces opportunities of integrating popular titles into teaching practice on the basis of short examples.

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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.