Th. 3e cycle--Psychol. soc.--Paris 10, 1986.

No description available.

I argue that the ways in which members of the youth generation in Cairo, Egypt consume Arabic-language popular music, and the aesthetic criteria by which they evaluate the worth of various songs and singers, constitute a key component, along with corresponding criteria of political, racial, gendered, and cultural authenticity of Egyptian subjectivity, of a new form of Egyptian gendered national subjectivity in postcolonial modernity. These aesthetic and authenticating criteria are fundamentally interrelated, as one’s consumer preferences within genres of Egyptian popular music are often taken as indicative of the nature of one’s Egyptian subjectivity. For previous generations in postcolonial Egypt, discriminating taste for high modernist aesthetics in popular music, especially the singer Umm Kulthūm, comprised an aspect of desirable cultural modernity and authenticity. This aesthetic has been superseded among contemporary youth by an emphasis on direct emotional evocation as an index of authenticity. Correspondingly, youth in Cairo have come to judge the authenticity of their Egyptian subjectivity against the political subjectivity of their elders’ generations, and the authenticity of their gendered, racial, and cultural subjectivities against those of the West and those of other Arab countries, most particularly Lebanon. / text

Thesis--Norwich--Univ. of East Anglia, 2001.

The influence of electronic percussion (in particular, the Simmons Drum Company’s innovations) on the compositions and evolution of 1980s Pop music can be examined through technological advancements as well as stylistic characteristics of drum partitions of the decade. Archived company catalogues in collaboration with Matt Dean’s historical timeline provide a clear understanding of the advancements during the time of the company’s tenure at the top of the electronic percussion industry. Definitions of the terms “style” and “genre” in both the primary and secondary approaches -by Allan Moore and other theorists- are used. The stylistic properties which create a genre are key in understanding the political, social, and cultural effects on the music. Ultimately, stylistic traits provide sufficient evidence in order to examine similar compositions which were sub-categorized differently on Billboard’s hit charts. Dave Carlton’s Hook Theory is a major resource in selecting pieces of music which share similarities. The differences in sub-categorization identified in this study are shown to derive from the transition to and the use of electronic percussion.

No description available.

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Music journalism has been acknowledged as an important space of mediation between artists and consumers. Journalists and critics have played an historical role in the creation of discourse on popular music and are acknowledged by the music industry as an important referent in promotion strategies. Research on the subject has been mostly focused either on the relationship between music journalism and the wider music industry in which it operates or on its status as a field of cultural production. Little consideration has been given to the role played by music journalists in articulating popular music with wider political, social and cultural concerns. This thesis will examine the case-study of Portuguese popular music journalism. It will address its historical evolution and current status by taking into consideration some dimensions, namely, the wider institutional contexts that frame the status of music journalism and how they work upon it, the ideologies and values realised in journalistic discourse, the journalists’ relationship to the music industry (as represented by record labels/companies and concert promotion companies) and issues of interactivity with readers. The thesis will draw on theories of the public sphere and, to a lesser extent, on Bourdieu’s notions of field, capital and habitus to assess the possibilities for music journalism to create reasoned discourse on popular music and, therefore, contribute to wider debates on the public sphere of culture.

Janelle Monáe is a pop superstar whose Afrofuturist art is paving the way for a new revolution of popular music. An investigation into her oeuvre reveals an artform that ­relies on technological aesthetics and science-fiction narratives as a critical lens through which capitalism and its racist, sexist, homophobic, and hegemonic tendencies are clearly revealed. Monáe displays a masterful understanding of social hierarchy and power imbalances, and uses her music as a form of resistance to those heterosexist, white-supremacist institutions that attempt to reduce Monáe to the profitability of her body and culture. Situating herself as a visible and celebrated queer black musician and activist, Monáe uses her voice to provide political commentary on present-day America, through imagined future dystopias. Her seamless synthesis of black music genres and aesthetics allows for a unified musical project that is accessible, socially informed, powerful, and impactful.

The number of the radio stations reached 208 high at 2008 since they were allowed to apply for the operating licence in 1993, according to statistics of the National Communications Commission. However, the radio stations are facing intense competition with blooming on-line radio stations. Therefore, how to retain loyalty of audience is an important issue for all the radio stations. This study is to explore the correlation of audience personality, life style and the loyalty to the pop-music radio stations. Also it investigates whether a person¡¦s inner-attribute and outer-behavior are related to his loyalty of a pop-music radio station. We used on-line questionnaires and purposive sampling of Kaoshiung residents. We hope that the results of this study would benefit administrative managers for the pop-music radio stations to understand the station¡¦s advantages, the needs of the audiences, and to manage the audiences¡¦ loyalties effectively in the competitive environment. The method of collected data is by using on-line questionnaires and purposive sampling of Kaoshiung residents. Among 241 samples, 236 were effective and 5 samplers were non-listeners to any radio station. After the data anlaysis based on factor theory, the samples were sorted in five different personality traits including agreeableness, conscientiousness, extraversion, openness and neuroticism. The statistical results show that the number of the audiences possessing agreeableness is the greatest, followings conscientiousness, openness, extraversion, and finally neuroticism. Also the audiences emphasize on the achievement pursuit, following amusement, media attentiveness, topicality interest, job emphasis, spending efficiency, and plan deliberation. The audiences possess the loyalty of the radio station which doesn¡¦t show any differences because of diverse personalities or life styles, and the attitude loyalty is higer than the behavior loyalty.