Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2015-11-13T17:20:53Z No. of bitstreams: 2 Dissertação - Maria Regiane da Silva - 2008.pdf: 7085056 bytes, checksum: e1affea996a9127b26d7dabb64a227e1 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2015-11-16T09:27:07Z (GMT) No. of bitstreams: 2 Dissertação - Maria Regiane da Silva - 2008.pdf: 7085056 bytes, checksum: e1affea996a9127b26d7dabb64a227e1 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2015-11-16T09:27:07Z (GMT). No. of bitstreams: 2 Dissertação - Maria Regiane da Silva - 2008.pdf: 7085056 bytes, checksum: e1affea996a9127b26d7dabb64a227e1 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2009-05-25 / Is surprising the challenge of the to question and to have the possibility to answer with music. Of the music to question and other sensibility to answer her. The sound doesn't just belong to the music, the music is not only composed of sounds. The life that sounds receives the care historical of the emotional existence, and this experience receives the musical components as indicators of the intertextual reading. The African diáspora offers the rhythm of the pop music that, for your time, she takes charge of being the habitat of the AfroAmerican memory. The sound memory of the diáspora is interpreted by the rhythmic beat of the pop music, an ethnic beat that is causing black reinventions in the musical performances in global contexts. To approach the pop musical expression as phenomenon of reinvention of the black identity, the memory African cultural scored the black identification in the AfroAmerican musical head offices traveled by the rhythmic transformations of the gospel, blues, jazz, swing, rhythm and blues, soul, freejazz, rock, funk, pop and rap. The social rhythm that accompany those gender it is centralized in the freejazz for the development of the research, from where they follow analyses and comments on the process of construction of the pop beat addressed in a social slope of racial protest and in the musical agency of black domain. The ethnic revival of the decade of 1960 is the scenario for the presented musiciansocial dialogues in way to map responsible relationships for the rhythmic development that consolidated the beat of the pop music as an ethnic beat. The reflection around the pop gender renounces academic precepts and formalist of the European musical tradition to present a possibility of musical analysis where the procedure is given by the content to be received from the object. This way the pop music can be questioned before the suffered social context by the agents of your creation. The followed road is updated by those musical agents, that give us elucidation answers if we look for the music as a resulting art of human negotiations. / Surpreendente o desafio de questionar e ter a possibilidade de responder com música. De a música questionar e outra sensibilidade respondêla. O som não pertence apenas à música, a música não é composta somente de sons. A vida que soa recebe o cuidado histórico da existência emocional, e esta experiência recebe os elementos compositivos musicais como indicadores da leitura intertextual. A diáspora africana oferece o ritmo da música pop que, por sua vez, se encarrega de ser o habitat da memória afroamericana. A memória sonora da diáspora é interpretada pelo beat rítmico da música pop, um ethnic beat que está provocando reinvenções negras nas performances musicais em contextos globais. Para abordar a expressão musical pop como fenômeno de reinvenção da identidade negra, a memória cultural africana instrumentalizou a identificação negra nas matrizes musicais afroamericanas percorridas pelas transformações rítmicas do gospel, blues, jazz, swing, rhythm and blues, soul, freejazz, rock, funk, pop e rap. O ritmo social que acompanha esses gêneros é centralizado no freejazz para o desenvolvimento da pesquisa, de onde partem análises e comentários sobre o processo de construção do beat pop direcionado numa vertente social de protesto racial e na agência musical de domínio negro. O revival étnico da década de 1960 é o cenário para as interlocuções músicosociais apresentadas de modo a mapear relações responsáveis pelo desenvolvimento rítmico que consolidou a batida da música pop como um beat étnico. A reflexão em torno do gênero pop renuncia preceitos acadêmicos e formalistas da tradição musical européia para apresentar uma possibilidade de análise musical onde o procedimento é dado pelo conteúdo a ser recebido do objeto. Desse modo a música pop pode ser questionada diante do contexto social sofrido pelos agentes de sua criação. O caminho seguido é atualizado por esses agentes musicais, que nos dão respostas esclarecedoras se olharmos para a música como uma arte resultante de negociações humanas.

Detta arbete handlar om min låtskrivandeprocess, och om hur den skiljer sig när jag skiftar min utgångspunkt mellan text, melodi + ackord och beat. Syftet med arbetet har varit att ta reda på vilken metod som fungerar bäst för mig när jag skriver låtar till mig själv som artist, för att kunna bli en mer effektiv och strukturerad låtskrivare i framtiden. Jag har skrivit totalt sex låtar. I två av låtarna har jag börjat med att skriva text, i två av låtarna har jag börjat med att skriva ackord och melodi, och i två av låtarna har jag börjat med att producera ett beat. Jag har fört loggbok under arbetets gång, och utifrån den sedan beskrivit processen och bedömt resultatet av låtarna. I en diskussion har jag sedan kommit fram till att den metod som fungerar bäst för mig är att börja med beat, eftersom jag då upplever att jag får som mest frihet och inspiration till att skriva låtens topline.

This master dissertation is an attempt to find the best way for a young and aspiring music producer or songwriter to start a career within the pop music industry. The aim of the project is to gain knowledge from the process of pitching music to publishers, record labels and artists and to improve that process with the knowledge gained. As an additional method I also invited professionals from the music industry (A&R, artist and producers/writers) to share their views on the topic. The work resulted in several songs and song sketches, but it is important to point out that the audio is not part of the analysis and rather a biproduct of the project. The focus of this dissertation lies on the process of pitching music, building a network and the learning effect only. / I detta arbete ska jag försöka hitta ett bra sätt för en blivande musikproducent eller låtskrivare att starta en karriär inom popmusikindustrin. Syftet med projektet är att utveckla kunskap om hur man pitchar musik till förlag, skivbolag och artister och genom den processen ständigt förbättra arbetsmetoden. Som ytterligare en metod förde jag också samtal med yrkesverksamma från musikbranschen (A&R, artist och producenter/låtskrivare) för att på så sätt få ta del av andra åsikter om ämnet. Arbetet resulterade i flera låtar och sångskisser men det är viktigt att förtydliga att musiken inte är en del av analysen utan snarare en biprodukt av projektet. Uppsatsen fokuserar endast på arbetsprocessen och den kunskap som är kopplad till den.

Le présent travail se veut une analyse des enjeux jalonnant le développement du courant musical appelé « folk du Kansai ». Apparu au milieu des années 1960, ce genre incarne avec vigueur la contestation sociale qui traverse les pays, en proposant notamment des titres anti-guerre comme l’émouvant « Betonamu no sora » [« Le Ciel du Vietnam »] de Takaishi Tomoya ou l’ironique « Jieitai ni hairô » [« Entrons dans les forces d’autodéfense »] de Takada Wataru. Pourtant, la thèse que nous portons désire montrer toute la richesse d’un courant musical qui a jusqu’à aujourd’hui été largement réduit à sa facette engagée. Si la folk du Kansai réclame haut et fort la remise en question d’une société jugée belligérante et structurellement inégalitaire, elle reflète également de profondes interrogations quant à la place de l’art dans le quotidien, au rôle de l’artiste au sein de la société, ainsi qu’au sens donné à une musique dite populaire, pourtant modelée par une industrie en place au Japon depuis plus de 40 ans. A travers la reconstitution du développement de la scène de la folk du Kansai de ses début en 1966 à sa disparition à l’orée des années 1970, ainsi qu’une analyse de son répertoire composé d’une centaine de titres, ce travail s’attache à démontrer comment les artistes du genre ont rendu musicalement et scéniquement concrète une profonde aspiration à une indépendance artistique, source à la fois d’expressions individuelles créatives et de regards citoyens sur le monde. / The present work proposes an analysis of the musical genre called “Kansai Folk”. Born in the mid-1960’s, this musical genre embodies the japanese social movement, expliciting for exemple strong anti-war feelings, as Takaishi Tomoya’s moving “Betonamu no sora” or Takada Wataru’s ironic “Jieitai ni hairô” illustrate it. However, our dissertation aims to show that the Kansai folk was more than political protest put in music. If its artists indeed wanted to firmly question a society judged belligerent and unequal, their work also reflected on other questions such as the place of art in the everyday life, the role of the artists in their society and the meaning of a so-called popular music that has been shaped by an industry existing in Japan since the end of the 1920’s. Throught the reconstitution of the development of the Kansai folk musical scene, from its beginning in 1966 to its disparition in 1970, and an analysis of the hundred of tunes composing its repertoire, this works aims to show how these ambitious artists made real their aspiration toward a scenic independence, used as a musical plateforme to imagine and perform creative self-expressions and citizen’s critical views.

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In a fragmented media landscape, the Melody Festival (Melodifestivalen) is one of the few Swedish media productions that still gathers audiences for ritual media consumption. Despite its position as one of the largest media institutions in Swedish society, research regarding the event is limited and this bachelor study aims to counteract this. The aim of the study is to investigate what values and ideological assumptions about interpersonal relationships that are discursively constructed in the song lyrics performed at the Melody Festival. The study is based on critical discourse analysis, and Eva Illouz's sociological theories concerning relationships, as a theoretical framework. Every winning entry from every even year between 2002-2023 (a sample of 11 song lyrics) has been analyzed using critical discourse analysis. In line with previous research on pop music, the results of the study show how the most common type of relationship in the material is of a romantic nature. Love is frequently depicted metaphorically as an all-consuming force in accordance with Illouz. However, love as work (à la Illouz) is not represented in the material. The results also show how the private is prioritized over the societal where the relationship between “I” and “you” is the most prominent.

整合行銷傳播（IMC）發展十多年來，雖然其價值倍受肯定，但由於市場環境變遷與理論的限制，使得IMC在實際執行上的成效並不彰顯。因此，IMC正面臨發展的瓶頸。 本研究整理各家學者對IMC的論述，重新審視IMC之架構，將IMC依投入–產出的系統分為「要素投入」、「執行過程」、「績效產出」三大部份，並再細分為八大面向，說明如下： 一、要素投入：分為「組織架構面」、「人員知識面」與「企劃流程面」三大面向，檢視企業投入IMC的要素與投入IMC要素時所遇到的障礙。 二、執行過程：分為「執行層級面」與「執行內容面」二大面向，確認企業執行整合的層級與程度，並檢視企業執行IMC的內容是否符合IMC的四大特性，也就是協調性、一致性、互動性與互補性。 三、績效產出：分為「綜效評估面」與「系統回饋面」二大面向。綜效評估面又可分為「知覺導向」、「關係導向」與「行為導向」，企業應視其行銷需求設立評估績效的標準。在系統回饋面上，則表示企業應回頭檢視IMC在投入與執行的過程中是否符合IMC的要求。 綜合各家IMC之論述後，本研究建立出IMC之概念性架構，做為學界與業界在研究與實施IMC的基礎。 唱片產業近年來面臨不景氣與盜版的雙重打擊，加上數位科技的進步與消費習慣的改變，過去銷售唱片的價值模式已無法支持唱片產業。因此大部份唱片公司亟力尋求異業資源與多角化經營，將有限度的資源整合在一起做最大效益的發揮，非常符合IMC的精神，因此極具IMC的研究價值。 本研究以「個案比較研究法」，選取本土與外資各一家唱片公司為個案研究對象，研究其實施IMC的情形。其中本土唱片公司以「華研國際音樂」為代表，外資唱片公司以「環球國際唱片」為代表，結果發現： 一、IMC的投入部份 1．兩唱片公司在組織架構面上適合發展IMC。 2．兩唱片公司在企劃流程面上滿足IMC的規劃。 3．兩唱片公司在人員知識面上對IMC的了解較為不足。 4．兩唱片公司在人員知識面上並未使用資料庫行銷。 二、IMC的執行部份 1．本研究個案唱片執行整合內容符合IMC四大特性。 2．本研究個案唱片執行整合達「部份利害關係人整合」之整合層級。 三、IMC的產出部份 1．唱片公司需建立公平客觀的IMC績效評估系統。 2．唱片公司應重視IMC的回饋，提昇組織效率與效能。 四、本土唱片與外資唱片的比較部份 1．華研較環球在IMC投入要素高，阻礙較小。 2．環球台灣子公司以區域為市場，個別市場整合程度較不足。 3．環球台灣子公司在資源整合的權限較具限制。

本研究以Csikszentmihalyi「創造力系統模式」個人、守門及領域三角模式觀點為指引，針對2000年至2008年產製最多Top 5 K歌作詞者、作曲者與唱片製作人進行深度訪談，歸納出台灣K歌產製框架。研究目的包括：第一、以框架理論觀點作質性分析，歸納K歌產製流程的框架作用與框架化產製元素；第二、藉由本研究解構K歌產製模式，提供台灣流行音樂產業未來產製省思。 本研究發現K歌產製者之核心能力，初期是透過「臨摹」領域成功作品習得，日後個人會將「臨摹」加以變形或延伸。「臨摹」建構個人對領域的認知，「臨摹變形」則是基於個人創作習癖，兩者結合形成個人創作風格。 領域框架個人創作有以下兩種形式：第一、K歌為高度約定俗成的文本格式，個人同意於「結構框架」之下進行產製；第二、K歌產製者選擇創作主題時，受到閱聽人「感情經驗」召喚，以悲傷情歌為主要類型。個人並非純然的創作者，K歌為個人與閱聽人進行之「集體創作」。K歌作曲者為了達到領域要求，從事創作時採用「慣例」造成冗贅性，增進文本的溝通效果。本研究對象最常用之「慣例」，有以下幾種：1、hook(反覆樂句)手法；2、古典音樂理論作曲法；3、慣用和弦。 由於本研究對象為領域中最具代表性的K歌產製者，守門與個人互動方式並非傳統篩選作品模式，而是雙方採取合作方式，共同為表演者「量身訂作」文本。本研究亦發現，領域中較高地位之「大牌K歌產製者」，具有統合個人與守門角色的權限，少了守門干預的個人作為，可以破除既有格式，自由地使用創意元素於新專輯之中。此外，網路科技降低了出版門檻，衝撞傳統K歌產製系統模式。過去被排除於領域之外的獨立音樂產製者，跳脫出「K歌產製創造力系統模式」，尋求另類出路。個人風格導向之產製，加速了流行音樂領域的變遷。 / In this study, the Csikszentmihalyi "creativity system” model, a triangular relationship between individuals, field influences, and domain impacts, is used to understand qualitatively the Taiwanese Karaoke song production popularity and success in the years between 2000 to 2008. The composers, lyricists and producers interviewed produced the most top five karaoke songs during this time. The purpose of this study is first; to use the frame analysis qualitative research method to understand the framework and production elements of Taiwanese Karaoke and Music. Secondly; to provide a model or framework for future production and to offer information that could advise future productions. This study concluded that lyricists and composer’s core abilities were highly dependant upon what previously successful models were imitated. At first, it was often a matter of imitating successful models that preceded them. Later, as they developed they would transform or elaborate upon this imitation. Individual personalities building upon these imitation inspired works defined the domain. Transformation of the imitation into something new was based upon the habitus of each individual. The frame of the model and personal thought combine to become a personal style The frame affects the personal content in two ways. First, Karaoke is an already widely accepted format that is familiar to composers. Therefore this structure or frame is already an accepted format to create songs within. Secondly, lyricists choose content based upon the audiences experiences. The most commonly shared experience is often expressed in sad love songs. The lyricist and composer are not purist creators, as audience expectation and interaction forms a collective and collaborative relationship. In order to reach the domain requirements, composers will use rules to form redundancy in the music to improve the contents communicative efficiency to the audience. The three most popular rules used by the composers interviewed were: 1) The hook. 2) Classical music techniques. 3) The top seven most commonly used chords. Due to the nature of the group represented, the traditional gate keeper method of selecting individuals for work was most often set aside in favor of cooperative collaboration between the individuals, and the producers in selecting new content for the talent. This study also found that if the domain status is high the most popular composers and lyricists have the power to combine the rights of the gate keeper and the individual. Without the field or gatekeeper the individual can break-out of format models and freely use creative elements in their new productions. Moreover, internet technology opened the door for increased production and lowered the material requirements necessary to produce music. The caused a collision with traditional karaoke music production. Those independent music producers previously excluded from the domain now jump out of the Karaoke Production Creation System. They find alternate means to produce music and expose the audience to their work. Whoever’s personality or strong style stands out clearly will change the domain rapidly.

The thesis deals with a musical aspect in Czech films directed by Miloš Forman. The topic is investigated within a wider context of musical culture of the 1960s as it is focused on analysis of cultural phenomena associated with musical expression which left their impression on Forman's films and participated, to great extent, in specificity of their soundtracks. So the films are not analyzed as separate artifacts, but they are considered as documents affected by the social climate at that time. Common social phenomena which were an integral part of Forman's films are studied such as dancing parties, twist and radio broadcasting. The Forman's cooperation with the Semafor theatre is analyzed as well as how Semafor poetics influenced his films. Jiří Suchý's lyrics and the period hits classified as the medium pop music stream are carefully analyzed as they are an important part of Forman's films. A short outline of the cinematographic context of the 1960s and comparison with films thematically similar help to specify Forman's approach to the music aspect. The collage-like structure of the work highlights a few contradictory trends in pop music of the 1960s whose variety can be seen in Forman's films.

I detta arbetet så analyserar jag soundet ifrån tre framgångsrika musikproducenter inom popmusiken samt återskapar deras sound på mina egna låtar. Detta görs genom en grundlig analys i tre steg. Resultatet blev tillfredställande då jag har fått ett par ”aha-upplevelser” som direkt höjt kvalitén på mina produktioner.