黃志偉. / 手稿本影印本. / Thesis (M.A.)--香港中文大學傳播學部, 1991. / Shou gao ben ying yin ben. / Includes bibliographical references (leaves i-iv). / Huang Zhiwei. / Thesis (M.A.)--Xianggang Zhong wen da xue Chuan bo xue bu, 1991. / Chapter 壹 --- 導　論 --- p.1 / Chapter 貳 --- 文獻參閱 --- p.11 / Chapter (一) --- MISC´ؤ小國音樂工業研究計劃 --- p.11 / Chapter (二) --- 媒介帝國主義 --- p.33 / Chapter (三) --- 跨國公司 --- p.41 / Chapter (四) --- 其他有關文獻 --- p.54 / Chapter 参 --- 研究方法 --- p.66 / Chapter (一) --- 研究目的 --- p.66 / Chapter (二) --- 基本概念 --- p.73 / Chapter (三) --- 研究方法 --- p.80 / Chapter 肆 --- 歐美流行音樂與五大國際唱片集團 --- p.99 / Chapter (一) --- 歐、美流行音樂發展概況 --- p.101 / Chapter (二) --- 五大唱片集團壟斷下之國際唱片業 --- p.115 / Chapter 伍 --- 跨國唱片公司的發展、業績及組織結構 --- p.131 / Chapter (一) --- 五大跨國唱片公司在香港之發展 --- p.131 / Chapter (二) --- 跨國唱片公司的組織結構及其輸入外國流行音樂信息之模式 --- p.158 / Chapter (三) --- 五大跨國唱片公司壟斷下之粤語流行樂壇 --- p.183 / Chapter (四) --- 跨國唱片公司組織結構對粤語流行曲改編歌曲之影響 --- p.202 / Chapter 陸 --- 香港粤語流行曲的外來成份 --- p.216 / Chapter (一) --- 五、六十年代作品分析 --- p.228 / Chapter (二) --- 七、八十年代作品分析 --- p.248 / Chapter 柒 --- 總結 --- p.271 / Chapter (一) --- 研究成果摘要 --- p.271 / Chapter (二) --- MISC　互動模型的分析結果 --- p.285 / Chapter (三) --- 討論 --- p.305 / 參考書目 --- p.i / Chapter 附錄 --- 附件(一)：香港電台中文歌曲龍虎榜 一九七七年至八九年 每周榜首歌曲名單 --- p.v / 附件(二)：歷屆十大中文金曲入選作品（1978-1989） --- p.xii / 附件(三)：個人訪問之基本問題(1)´ؤ作曲家、樂評人、電台工作者 --- p.xviii / 附件(四)：個人訪問之基本問題(2)´ؤ跨國唱片公司國際部行政人員 --- p.xx

This dissertation examines how a contested musical practice makes the problems of modernity in India audible. In particular, I look at the relationship between South Indian "fusion" musicians and India's recent economic and cultural growth attributed to the economic reforms of 1991. Fusion is the local name for a musical practice that combines South Indian classical music with elements from rock, jazz, and world music. During thirteen months of ethnographic fieldwork carried out in the South Indian city of Chennai between 2006-8, I attended countless concerts, interviewed dozens of people involved with musical production, and performed with musicians. I observed how musicians and audiences perpetuated the idea that fusion was contested and I documented the local debates that often expressed a deep uncertainty and ambiguity about the legitimacy of fusion. What can a contested musical practice reveal about the recent economic and cultural changes in contemporary urban India? Fusion is contested because its multiple and contradicting histories, definitions, and opinions make it a unique musical problem in Chennai. This problem is further complicated when the explicit intension of fusion as musical mixing is also understood as an example of persistent debates of cultural mixing that are so crucial to India's colonial history and postcolonial present. In this dissertation, I show how fusion triggers debates that provide a unique constellation of irresolvable tensions that help situate contemporary, urban, South Indian musicians within the changing relations between India and the West. The contestation about fusion has led to a lacuna of critical scholarship that this dissertation remedies. I argue that rather than being a reason to overlook fusion, fusion's contestation loads it with meaning and makes it a rich, unexamined site of expressive culture. It provides a unique domain to understand how musicians in Chennai represent the always-changing relations of India and the West through their discourse about music and musical sound.

This is an ethnographic study of the fraught and complex cultural politics of music making in Palestine-Israel in the context of the post-Oslo era. I examine the politics of sound and the ways in which music making and attached discourses reflect and constitute identities, and also, contextualize political action. Ethical and aesthetic positions that shape contemporary artistic production in Israel-Palestine are informed by profound imbalances of power between the State (Israel), the stateless (Palestinians of the occupied Palestinian territories), the complex positioning of Israel's Palestinian minority, and contingent exposure to ongoing political violence. Cultural production in this period is also profoundly informed by highly polarized sentiments and retreat from the expressive modes of relationality that accompanied the 1990s peace process, strategic shifts in the Palestinian struggle for liberation, which is increasingly taking place on the world stage through diplomatic and cultural work, and the conceptual life and currency Palestine has gained as an entity deserving of statehood around the world. The ethnography attends to how the conflict is lived and expressed, musically and discursively, in both Israel and the occupied Palestinian territories (oPt) of the West Bank, encompassing different sites, institutions and individuals. I examine the ways in which music making and attached discourses reflect and constitute identities, with the understanding that musical culture is a sphere in which power and hegemony are asserted, negotiated and resisted through shifting relations between and within different groups. In all the different contexts presented, the dissertation is thematically and theoretically underpinned by the ways in which music is used to culturally assert or reterritorialize social and spatial boundaries in a situation of conflict. Beginning with cultural policy promoted by music institutions located in Israel and in the West Bank, the ethnography focuses on two opposing approaches to cultural interventions in the conflict: music as a site of resistance and nation building amongst Palestinian music conservatories located in the oPt, and music is a site of fostering coexistence and shared models of citizenship amongst Jewish and Arab citizens in mixed Palestinian-Jewish environments in Israel. This follows with the ways in which music making is used to re-write the spatial and temporal boundaries imposed on individuals and communities by the repressive regime of the occupation. The ethnography also attends to the ways in which the cultural construction of place and nation is lived and sounded outside of institutional frameworks, in the blurry boundaries and `boderzones' where fixed ethno-national divisions do not align with physical spaces and individual identities. This opens up spaces for alternative imaginings of national and post-national identities, of resistance and coexistence, of the universal and the particular, that musically highlight the daily struggles of individuals and communities negotiating multiplex modalities of difference.

This dissertation traces the tensions surrounding indie music production in Santiago, Chile and Sao Paulo, Brazil. I conducted several years of ethnographic research on locally situated, yet transnationally interpolated, musical production, circulation and listening practices in Santiago and Sao Paulo. I open by detailing the expansion of the indie touring market from the global north into both cities, theorizing the enlistment of affect as a neoliberal technique for producing monetary value. The next chapter considers spaces for musical association as forms of infrastructure that both emerge from and themselves help constitute musical-social networks in Santiago. I follow by showing how the history of Brazilian individuals' engagement with particular sets of indie sounds from the global north bear upon the contemporary formation of infrastructures of social relations, musical aesthetics, and places for musical and social association. Finally, I detail how the tensions between the construction of audience, value, aesthetics and circulation arising from new production structures manifest in the politics of a new type of Brazilian institution called Fora do Eixo. Here, I inspect the logics of aesthetic valuation in building structures for music production within a complex state-private nexus of cultural funding in Brazil. As a whole, this dissertation explores the political struggles emerging as actors seek to establish new structures for participating in live shows and for playing music as both a creative practice and as an economic activity within emerging forms of communication and cultural circulation made possible by digital media. Each struggle is simultaneously interpolated by the messy articulation of transnationally-produced notions of aesthetics, authentic modes of engagement with music, and moral-ethical ways of organizing music production, circulation and remuneration as a social practice. The dissertation thus highlights the way new media and economic logics build upon and clash with historical practices of production, evaluation of aesthetics, and regimes for mediating the artistic, the economic, and the social.

Not available / text

Thesis (Ph. D.)--University of Toronto, 2006. / Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 2344. Includes bibliographical references (leaves 283-294).

Zugl.: Wien, Univ., Habil.-Schr.

Thesis (Ph. D.)--UCLA, 2010. / Vita. Includes bibliographical references (leaves 296-303).

Orientador: Jose Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T08:42:50Z (GMT). No. of bitstreams: 1 Machado_Regina_M.pdf: 990082 bytes, checksum: 96fb95e9d3f86b94c15c13e95377a876 (MD5) Previous issue date: 2007 / Resumo: Através da pesquisa de fonogramas é possível estudar o desenvolvimento técnico e estético ocorrido na voz dentro do universo da canção popular urbana no Brasil. Particularmente ao observar o comportamento vocal no início dos anos 1980, na cidade de São Paulo, dentro do movimento intitulado Vanguarda Paulista, foi possível constatar que a elucidação dos aspectos entoativos da fala no canto possibilitou transformações no referencial estético e um aprofundamento da abordagem técnica na realização dos cantores. Este canto referenciado na fala, que se tornou um alicerce estético para o cantor popular a partir da sedimentação do samba no início do século passado, experimentou, durante a Vanguarda Paulista, uma radicalização desse comportamento através da manipulação de elementos técnicos que buscavam elucidar os sentidos da canção. Essa abordagem vocal buscou, como temos constatado, um ponto de equilíbrio entre a naturalidade da fala e a elaboração no entoar das melodias, muitas delas não tonais, resultando em novas possibilidades de realização técnica e estética para o cantor popular. Pautada por estudos de muitas obras do Prof. Dr. Luiz Tatit, entre elas A Canção ¿ eficácia e encanto e O Cancionista, e fazendo uso de uma abordagem semelhante às análises que ele realiza com relação à composição, propomos uma abordagem sobre o comportamento vocal, inserindo aí também uma terminologia técnica ligada aos estudos da voz, no sentido de tentar compreender as transformações ocorridas no canto popular e avaliar as contribuições dadas por essa geração de artistas à voz na canção popular brasileira / Abstract: Through the research of phonograms it is possible to study the technical and aesthetic development in the voice within the universe of urban popular song in Brazil. Observing particularly the vocal behaviour at the beginning of the 80¿ s in São Paulo within the movement called Vanguarda Paulista, it was possible to realize that the elucidation of the aspects of speech concerning intonation in singing, made possible the transformation in the aesthetic reference and an in-depth technical approach to help singers to achieve their aims. This singing related to speech, which became the aesthetic basis for the popular singer from the sedimentation of the samba at the beginning of last century, experienced during the Vanguarda Paulista a radical peak of this behaviour through the manipulation of technical elements that tried to elucidate the meanings of song. This vocal approach has tried to find, as we have stated, a sense of balance between the naturalness of speech and the elaboration in the intonation of melodies, many of them non-tonal, resulting in new possibilities of technical and aesthetic achievment for the popular singer. Based on studies of many works by Phd Luiz Tatit, among them A Canção ¿ eficácia e encanto e O cancionista, and using an approach similar to the analysis he carries out regarding composition, we propose an approach about vocal behaviour, also inserting a technical terminology linked to the studies of the voice in order to try to understand the transformations occurred in popular singing and to assess the contributions given by this generation of artists to the popular brazilian song / Mestrado / Mestre em Música

No description available.