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This diploma thesis with the title The phenomenon of Karel Gott in Czech press during 1960s-1980s researches a media representation of Karel Gott. Media representation of the most popular singer of Czechoslovakia is in this thesis constructed based on the analysis of media contents of three contemporary printed serials during the years 1959-1989. The theoretical part of this thesis focuses on the area of cultural politics, it deals with specific attributes of popular music in Czechoslovakia and it also presents the identity of Karel Gott. This part of thesis also deals with the press production with focus on the censorship. The aim of this thesis is to compile the media representation of Karel Gott using the method of critical discourse analysis presented by Norman Fairclough. The analysis uses mentioned method to research contents regarding Karel Gott and published in contemporary printed media, such as the serial Mladý svět, Vlasta, Pionýrské noviny, Sedmička and also Sedmička pionýrů. The purpose of this research work is to find out if and in which ways was the media representation of Karel Gott helping to establish the dominant discourse. This thesis designates research questions, whereas the set of answers to three subordinate questions helps to construct the answer to the main question. The...

Der Beitrag präsentiert eine Fallstudie, nicht ohne dabei das nach gängiger Meinung grundsätzlich herrschende Spannungsverhältnis von Popularmusik und musikalischer Analyse zu reflektieren. Das vorgestellte Beispiel belegt, dass musikalische Gestalten in der Popmusik eine komplizierte Zeichenfunktion erfüllen können, für die melodische Wendungen und Chord changes nur einen unter mehreren Ansatzpunkten bieten. Gezeigt wird, dass auch Zitate und Intertextrelationen den Charakter der Konstituenten durchaus mitbestimmen können. Dabei treibt die musikalische Analyse von Popmusik einen Selbstauslegungsprozess voran, der in der Popkultur selbst angelegt ist. Diese Position des ›teilnehmenden Beobachters‹ kann zwar einen Mangel an Objektivität evozieren, indiziert aber nicht deren wissenschaftliche Untauglichkeit. / This article presents a case study in order to reflect upon the supposedly foundational and ever-present tension between pop music and musical analysis. The example shown illustrates that musical gestures in pop music can fulfill a complicated design function (Zeichenfunktion) in which melodic turns and chord changes offer only one of many starting points. It will be demonstrated that quotations and intertextual relations can also influence the character of constituents. Thus the musical analysis of pop music promotes a process of self-interpretation that is present in pop music itself. Admittedly this position of “participating observer” can evoke a lack of objectivity, but this does not indicate its scientific unsuitability.

In seinem Song Lazarus setzte sich David Bowie unzweifelhaft mit seinem unmittelbar bevorstehenden Tod auseinander. Als Hauptmedium der Auseinandersetzung dürften weniger die Lyrics als die Musik des Songs anzusehen sein; und dabei kommt der Soundgestaltung an einigen Stellen eine zentrale Rolle zu. Es soll hier versucht werden, die semantische Funktion der Soundgestaltung in Bezug auf die Narration des Songs zu analysieren. Klang entzieht sich, gerade in Anbetracht der unendlichen Möglichkeiten elektronischer Manipulation, stärker als Tonhöhe und Rhythmus einer linearen Parametrisierung und bietet sich daher nicht zu einer code-geleiteten Verwendung an; allerdings lassen sich gewisse Parallelen zu den von David Bowie gewählten Klangmetaphern beispielsweise bei Berlioz und Alban Berg finden, die freilich eher der Todesthematik als einer bewussten Bezugnahme geschuldet sein dürften. Zu untersuchen ist ferner die Integration der Klangmetaphern in die Narration des gesamten Songs. Auf vielen Ebenen werden konventionelle Popstrukturen kreativ und im Sinne der Songthematik umgestaltet: So stellt die Form, etwa »Intro-Verse-Verse-Bridge-Verse-Solo-Outro«, nur die Grundlage für die Entfaltung eines einzigen, den gesamten Song umspannenden melodisch-narrativen Bogens dar; in Bezug auf diesen Bogen, durch ihre Platzierung an entscheidenden Umschlagpunkten der Narration entfalten die Klangmetaphern ihre eigentliche Kraft. Ähnliche Überlegungen lassen sich hinsichtlich harmonischer Phänomene anstellen. Insgesamt findet die Analyse in Lazarus ein dicht gewebtes Netz semantischer Bezüglichkeit, das im Dienst einer spirituellen, verbal nicht mehr formulierbaren, dafür unmittelbar berührenden Aussage steht. / There is little doubt that in his song »Lazarus«, David Bowie was dealing with his impending death. It seems that in this respect the music is more important than the lyrics, with the sonic design of certain parts playing a major role. In this article, an attempt is made to analyze the semantic function of sound in relation to the narrative of the song. Sound eludes linear parametrization, much more than pitch or rhythm, especially if we take into account the infinite possibilities of its electronic manipulation in pop music. In general, sound is less »coded« than pitch or rhythm. Indeed, there are some parallels between sonic metaphors in »Lazarus« and in certain works of Berlioz and Alban Berg, but these parallels might be due to topical similarities (the theme of death) rather than conscious allusion. Moreover, the placement of the sonic metaphors into the narrative framework of the song deserves some attention. »Lazarus« uses conventional song structures in a creative way in order to enforce its narrative. For example, while the song may be analyzed as Intro–verse–verse–bridge–verse–solo–outro, there is a single overarching melody unfolding throughout the song. The various sonic events draw their semantic impact from their placement at important turning points of the narrative. Similar observations can be made with regard to certain harmonic aspects of »Lazarus«. All in all, the analysis reveals a tightly-knit web of semantically charged events, contributing to a spiritual message that transcends verbalization.

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Jazz and rock have been historically treated as separate musical traditions, despite having many similar musical and cultural characteristics, as well as sharing significant periods of interaction and overlap throughout popular music history. The rift between jazz and rock, and jazz and rock scholarship, is based on a set of received assumptions as to why jazz and rock are different. However, these assumptions are not naturally inherent to the two genres, but are instead the result of a discursive construction that defines them in contrast to one another. Furthermore, the roots of this discursive divide are to be found in the history of popular music journalism. In this thesis I challenge the traditional divide between jazz and rock by examining five historical case studies in American jazz and rock journalism. My underlying argument is that we cannot take for granted the fact that jazz and rock would ultimately become separate discourses: what are now represented as inevitable musical and cultural divergences between the two genres were actually constructed under very particular institutional and historical forces. There are other ways popular music history could have been written (and has been written) that call the oppositional representation of jazz and rock into question. The case studies focus on the two oldest surviving and most influential jazz and rock periodicals: Down Beat and Rolling Stone. I examine the role of critics in developing a distinction between the two genres that would eventually be reproduced in the academic scholarship of jazz and rock. I also demonstrate how the formation of jazz and rock as genres has been influenced by non-musicological factors, not least of all by music magazines as commercial institutions trying to survive and compete in the American press industry.

This thesis examines the conceptualization of life in the lyrics of Czech popular songs of 1960s. The thesis derives theoretically and methodologically from cognitively and culturally-based approaches to language, especially from the theory of conceptual metaphor and metonymy (e. g. Lakoff and Johnson) and the concept of language as a picture of the world (school of Lublin). At first the thesis analyses the semantics of lexeme life. The analysis is based on the data from dictionaries and it reaches the basics of the linguistic picture of life as it is anchored in common language. Simultaneously the thesis works with the picture of life (in contrast with death) how it is served in the literature about Czech folk culture. The main part of this study consists of almost a hundred interpretations of lyrics from the examined period, which depict human life in its various stages and forms (through oppositions of life - death, youth - old age, etc.). The analysis follows relevant semantic elements which participate on its conceptualization. The thesis describes systematically and in detail particularly metaphors (structural, ontological and orientational), metonymy, and also the image schemes which are associated with life (scheme of JOURNEY, CYCLE). The attention is paid to their specific language...

O presente estudo teve como objetivo principal aplicar a canção em sala de aula, para medir o seu grau de influência na aprendizagem do aluno no contexto de LE, particularmente da língua alemã. Com base no levantamento bibliográfico, foi constatado que a canção é uma ferramenta importante no ensino-aprendizagem de LE. Porém, sentiu-se falta da descrição dos resultados a partir da sua aplicação em sala de aula. Nos livros didáticos e em sala de aula, há, geralmente, canções elaboradas. No entanto, para despertar a motivação dos alunos da faixa etária de 13-14 anos das 8as séries de uma escola particular de São Paulo, houve a preocupação em selecionar uma canção autêntica que correspondesse ao universo de interesses dos jovens. Antes da escolha da canção houve a preocupação em definir a canção autêntica, segundo Parnitzke (1997). Dentre as canções autênticas, foi adotada a canção popular, que vai ao encontro dos interesses dos jovens. Dessa forma compreende-se por canção popular uma melodia cantada, com uma estrutura conjugada de língua e música, que compõem uma unidade. As suas partes melódicas são fáceis de cantar e de memorizar, as entoações e o ritmo orientam-se pelo texto. Engloba os gêneros musicais cantados, que são produzidos e divulgados em massa. A escolha da canção popular iniciou com um questionário respondido por jovens alemães da mesma faixa etária do público-alvo, passando pela definição do objetivo de aprendizagem para a sua aplicação e pela consideração dos critérios de escolha de canções estabelecidos por Setzer (2003), entre outros autores. O objetivo de aprendizagem com a canção concentrou-se na identificação de fonemas vocálicos característicos da língua alemã, ausentes no português do Brasil, visando uma melhor compreensão na comunicação oral. Para medir o grau de aprendizagem dos fonemas vocálicos, optou-se pela aplicação de um ditado antes e após o uso da canção em quatro grupos, dos quais um representou o grupo-controle, ou seja, não realizou a atividade com a canção. Após a aplicação da canção e a realização do segundo ditado verificou-se que, embora ainda ocorressem diversos erros ortográficos, houve uma melhora na compreensão auditiva refletida na representação de grafia dos fonemas específicos da língua alemã pelos alunos. Ao mesmo tempo, verificou-se que no grupocontrole essa melhora não ocorreu. Diante disso, conclui-se que a canção é um instrumento importante para a aprendizagem da LE. / The application of songs as class room activity, aiming at the measurement of their influence, presumed positive, on the pupils learning process of foreign languages, is the main goal of this study. From the literature review one concludes that songs are considered useful foreign language teaching tools. Nevertheless, there is a lack of measurements showing how effectively music influences the learning process. Text books usually present songs which are deliberately composed for teaching purposes. Considering 13-14 year old students, an authentic song, and thus motivating since it brings up young peoples concerns, was selected. Prior to the choice, Parnitzkes (1997) definition of authentic song was presented and discussed. Among the universe of authentic songs, the so called pop music was chosen, as it meets young peoples expectations. Pop song is understood as a sung tune with an integrated structure of music and language which composes a unity. Its melody is easily sung and memorized, its intonation and rhythm are guided by the lyrics. It comprises songs that are mass orientated and broadcast. The song selection process began with a questionnaire completed by young German students aged like the ones considered in this research, followed by the definition of the learning goal and of the choice criteria proposed by Setzer (2003), among others. The learning goal was focused on the identification of German language characteristic vocal phonemes which are absent in the Portuguese language spoken in Brasil, aiming at the improvement of listening comprehension skills. Four groups of students were considered, one of which was the control group that did not have contact with the song, and in order to measure the learning progress on the phonemes, the students did one dictation prior to and after the song activity. An analysis of the errors made by the students on both dictations showed that, excepting the students of the control group, there was an improvement in their listening comprehension skills, measured by the reduction of spelling mistakes. According to this, one confirms that the song is an important foreign language learning tool

Uppsatsen utreder populärmusikens ställning i den svenska kulturpolitiken med fokus på musikarrangörer. Bakgrunden består delvis i grundandet av riksförbundet Svensk Live och deras publikationer "Vi fortsätter spela pop (men vi håller på att dö)" och "Maktens Musik" som menar att delar av populärmusiken inte kan överleva eller utvecklas utan stöd. Stödet menar man att populärmusiken oftare nekas än andra genrer med en längre historia av att organisera sig och beviljas statliga stöd. Bakgrunden redogör även för musikvetenskaplig forskning och diskussioner kring begreppet "populärmusik" samt en historisk överblick av modern svensk kulturpolitik med musikarrangörer i fokus och ett redogörande för dagsläget utifrån rapporter från Myndighet för Kulturanalys och Kulturrådet. Populärmusik definieras utifrån Svensk Lives definition att begreppet innefattar all musik som inte är jazz eller konst-, folk- och världsmusik. Undersökningen görs genom en närläsning av hur sökande populärmusik-arrangörer motiverar sin rätt till medel i bidragsansökningar från 2007 och 2017 till Musikverket, Kulturrådet och Stockholms Kulturförvaltning. 2007 och 2017 jämförs för att notera eventuella skillnader då det tidigare kulturpolitiska målet om att motverka kommersialismens negativa verkningar togs bort 2009 och bildandet av Svensk Live 2017. För att komplettera och skapa underlag för diskussion undersöks även ansökningar från genrer som tillhör konstmusiken och jazzen. Även genrefördelningen undersöks genom att ta fram statistik över fördelning och hur den förändrats under samma tidsperiod. Resultatet av undersökningen visar att genrefördelningen skiljer sig mellan institutionerna, samt att populärmusikens del generellt sett har ökat i takt med ett ökat söktryck men att den generellt sett fortfarande får mindre än en majoritet av övriga genrer. Undersökningen visar att argumentationen från populärmusiken har förändrats mellan 2007 och 2017 samt att den skiljer sig från övriga genrer genom att generellt sett motivera med fler utommusikaliska aspekter och värden samt ett större behov att hävda icke-kommersialism. 2017 riktar man även kritik mot bidragsgivarna och visar i flera exempel på inflytande från Svensk Lives publikationer och opinionsdrivning som bland annat menar att "s k pop ska ses som kultur". Utifrån resultatet görs en analys och diskussion grundad i Pierre Bourdieus teorier om fält samt kulturproduktionsfältet två värdepoler där den ekonomiska setts som negativ och kulturella positiv. Begreppen populär- och konstmusik diskuteras med fokus på dess historiska konnotationer betydelse för ansökningarna samt hur begreppen ställs på tvären när ett ökat söktryck tyder på att en del av populärmusiken inte längre är tillräckligt kommersiell för att överleva utan stöd. Paralleller dras till hur jazzen gick från populärmusikalisk genre till konstmusikalisk status när den tappade sin popularitet och hur samma utveckling just nu håller på att ske med delar av den undersökta populärmusiken.

目前大部分的聽眾主要是透過歌詞與樂曲的搭配來了解音樂所要表達的內容，因此歌詞創作在目前的音樂工業是很重要的一環。一般流行音樂創作是由作曲人與作詞人共同完成，然而有另一種方式是將既有的詩詞做為歌詞，接著重新譜曲的方式產生新的流行音樂。這種創作方式是讓舊有的詞或曲注入新的生命力，得以流傳到現在。因此本研究希望可以為一首旋律推薦適合配唱的歌詞，以對數位音樂達到舊曲新詞的加值應用。本論文包括兩個部分，分別為：(1)自動分析歌詞的詞式，找出每個段落的位置與其段落的標籤；(2)詞曲結構搭配，找出相符合結構的詞與曲，並且同步每個漢字與音符。 本論文的第一部分為詞式分析，首先將歌詞擷取四個面向的特徵值，分別為(1)句字數結構；(2)拼音結構；(3)詞性；(4)聲調音高。第二步驟，利用這四種特徵值分別建立詞行的自相似度矩陣(Self Similarity Matrix)，並且利用這四個特徵的自相似度矩陣產生一個線性組合自相似度矩陣。第三步驟，建立在自相似度矩陣上我們做段落分群以及家族(Family)組合找出最佳的分段方式，最後將找出的分段方式利用我們整理出來的規則讓電腦自動標記段落標籤。第二部分為詞曲結構搭配，首先我們將主旋律的樂句以及歌詞的詞句做第一層粗略的對應，第二步驟，將對應好的樂句與詞句做第二層漢字與音符細部的對應，最後整合兩層對應的成本當做詞曲搭配的分數。 我們以KKBOX音樂網站當做歌詞來源，並且請專家標記華語流行歌詞資料庫的詞式。實驗顯示詞式分析的Pairwise f-score準確率達到0.83，標籤回復準確率達到0.78。詞曲結構搭配中，查詢的歌曲其原本搭配的歌詞，推薦排名皆為第一名。 / Nowadays, lots of pop music audiences understand the content of music via lyrics and melody collocation. In general, a Chinese pop music is produced by composer and lyricist cooperatively. However, another producing manner is composing new melody with ancient poetry. Therefore, we want to recommend present lyrics for a melody and then achieving value-added application for digital music. This thesis includes two subjects. The first subject is lyrics form analysis. This subject is finding the block of verse, chorus, etc., in lyrics. The second subject is structure alignment between lyrics and melody. We utilize the result of lyrics form analysis and then employ a 2-tier alignment to recommend present lyrics which is suitable for singing. In lyrics form analysis, the first step, we investigate four types of feature from lyrics: (1) Word Count Structure; (2) Pinyin Structure; (3) Part of Speech Structure; (4) Word Tone Pitch. For the second step, we utilize these four types of feature to construct a SSM(Self Similarity Matrix), and blend these four types of SSM to produce a linear combination SSM. The third step is clustering blocks and finding the best Family combination based on SSM. Finally, a rule-based technique is employed to label blocks of lyrics. For the second subject, the first step is aligning music phrases and lyrics sentences roughly. The second step is aligning a word and a note for corresponding phrase and sentence. Finally, we integrated the cost of two-level alignment regarded as the lyrics and melody collocation score. We collect lyrics from KKBOX, a music web site, and invite experts label ground truth of lyrics form. The experimental result of lyrics form analysis shows that the proposed method achieves the Pairwise f-score of 0.83, and the Label Recovering Ratio of 0.78. The experiment of structure alignment between lyrics and melody shows that the original lyrics of query melodies are ranked number one.