Este trabalho investigou a constituição de algumas narrativas sobre a música popular urbana elucidando o fluxo dinâmico do qual elas resultam, procurando (re)construir a história que as inventou, a partir da mediação de Mariza Lira, Eneida de Moraes e Ary Vasconcelos. Sediados nos órgãos de imprensa e outras mídias, eles se debruçaram sobre a música popular urbana, um objeto até então ignorado pela intelligentsia brasileira, construindo uma abordagem historiográfica específica sobre o tema. A historiografia construída por esses pesquisadores informais, de 1938 até início dos anos 1960, acabou definindo uma forma de escutar, ver e compreender a sociedade, a partir de um discurso muito próprio, em que a canção e a música popular tiveram papel central. Com o tempo formou-se uma narrativa documentada, explicativa e inovadora sobre a música popular que, posteriormente, acabou se oficializando por meio de instituições como o Museu da Imagem e do Som do Rio de Janeiro (1965), a Funarte (1975) e a Associação dos Pesquisadores da Música Popular (1975). Contudo, o estudo desses autores, usados até hoje como fontes primárias para as pesquisas realizadas no âmbito acadêmico, é muito tímido. Ainda mais inexplorado é o discurso historiográfico produzido por eles. É neste sentido que esta investigação buscou compreender e analisar a produção intelectual mais perene, ou seja, bibliográfica, e também aquela publicada em jornais e revistas, de Mariza Lira, Eneida de Moraes e Ary Vasconcelos. A riqueza da investigação está no fato de que esses autores se voltaram ao estudo da música popular e construíram narrativas historiográficas por vias diferentes, seja através do folclorismo no caso de Mariza Lira; do sociologismo marxista em Eneida de Moraes; ou, ainda, pela reconstrução da história política e social, no caso de Ary Vasconcelos. Cada um à sua maneira buscou contribuir para a preservação da memória da música popular urbana e com a invenção de um passado glorioso. / This work investigated the narratives about popular urban music, elucidating the dynamic flux from which they result, trying to (re)construct the history that invented them, through the mediation of Mariza Lira, Eneida de Moraes and Ary Vasconcelos. Working in the press and other media, they dwelt upon urban popular music, until then a subject ignored by Brazilian intelligentsia, building a historiographical approach about the theme. The historiography built by these informal researchers, from 1938 until the 1960s, came to define a way of listening, seeing and understanding society, based on a very specific discourse, in which popular music and song had a major role. With time a documented, explicative and innovative narrative was produced that, later, became official by means of institutions like the Rio de Janeiro Museu da Imagem e do Som [Image and Sound Museum] (1965), Funarte (1975) and the Associação dos Pesquisadores da Música Popular [Popular Music Researchers Association] (1975). Nevertheless, the work of theses authors, still used as primary sources for researches done in the academic environment, is very shy. Even less explored is the historiographical discourse they produced. It is in this sense that this investigation aimed at comprehending and analyzing the most perennial intellectual production, that is, the bibliographical material, plus what was published in newspapers and magazines by Mariza Lira, Eneida de Moraes and Ary Vasconcelos. The richness of this investigation is in the fact that these authors turned to the study of popular music and built historiographical narratives following different paths, be it Folklore Studies in Mariza Lira\'s case; Marxist Sociology in Eneida de Moraes; or, yet, through social and political historical reconstruction, in the case of Ary de Vasconcelos. Each one, in his or her way, tried to contribute to the preservation of urban popular musics memory and the invention of a glorious past.

Made available in DSpace on 2015-03-05T12:06:52Z (GMT). No. of bitstreams: 0 Previous issue date: 23 / Nenhuma / O presente trabalho é um estudo sobre a obra do compositor Noel Rosa (1910-1937) e de como ela está relacionada com as transformações sociais, políticas, econômicas e culturais que ocorreram no Brasil entre os anos 20/30 do século XX. Tem como objetivo concluir que Noel Rosa, indivíduo de classe média que interagia com os elementos populares e as classes mais baixas do Rio de Janeiro, representa, com suas canções, a interação entre o morro e a cidade, entre o tradicional e o moderno, contribuindo, assim, para caracterização e compreensão da formação da identidade brasileira no período em estudo. Assim, a partir da análise de suas letras, e da própria condição social de Noel Rosa, observamos que elas apresentam elementos, muitas vezes antagônicos, que representam as mudanças socioculturais pelas quais passava o Brasil naquele momento. Em sua obra estão presentes a ideologia da malandragem, característica dos anos 20, e a valorização do trabalho incentivada pelo governo pós-30, além de críticas ao progresso e à / The present paper is a study of the body of work of the composer Noel Rosa (1910-1937) and how it relates to the social, political, economic and cultural transformations which took place in Brazil between the 20’s and the 30’s of the 20th. Century. This paper aims at concluding that Noel Rosa, a middle class citizen who interacted with popular elements and lower social classes of Rio de Janeiro, represents, through his songs, the interaction between the slums and the city, between traditional and modern, contributing, therefore, to the characterization and understanding of the formation of the Brazilian identity during the mentioned period. Hence, by analyzing Noel Rosa’s lyrics and his social condition, it can be observed that they display elements, often counteractant, which represent the socio-cultural changes Brazil was going through during that period. In his work, are present the “malandragem” (spiv) ideology, which is highly characteristic of the 20’s and the valorization of work, motivated by the gov

This dissertation is an ethnographic and historical examination of Senegalese modern identity and cosmopolitanism through urban dance music. My central argument is that local popular culture thrives not in spite of transnational influences and processes, but as a result of a Senegalese cosmopolitanism that has long valued the borrowing and integration of foreign ideas, cultural practices, and material culture into local lifeways. My research focuses on the articulation of cosmopolitanism through mbalax, an urban dance music distinct to Senegal and valued by musicians and fans for its ability to shape, produce, re-produce, and articulate overlapping ideas of their ethnic, racial, generational, gendered, religious, and national identities. Specifically, I concentrate on the practice of black, Muslim, and Wolof identities that Senegalese urban dance music articulates most consistently. The majority of my fieldwork was carried out in the nightclubs and neighborhoods in Dakar, the capital city. I performed with different mbalax groups and witnessed how the practices of Wolofness, blackness, and Sufism layered and intersected to articulate a modern Senegalese identity, or Senegaleseness. This ethnographic work was complimented by research in recording studios, television studios, radio stations, and research institutions throughout Senegal. The dissertation begins with an historical inquiry into the foundations of Senegalese cosmopolitanism from precolonial Senegambia and the spread of Wolof hegemony, to colonial Dakar and the rise of a distinctive urban Senegalese identity that set the proximate conditions for the postcolonial cultural policy of Négritude and mbalax. Subsequent chapters focus on the practices of Wolofness, Sufism, and blackness articulated through mbalax.

This dissertation is a study of popular music and state-controlled radio broadcasting in the Arabic-speaking world, focusing on Syria and the Syrian radioscape, and a set of American stations named Radio Sawa. I examine American and Syrian politically directed broadcasts as multi-faceted objects around which broadcasters and listeners often differ not only in goals, operating assumptions, and political beliefs, but also in how they fundamentally conceptualize the practice of listening to the radio. Beginning with the history of international broadcasting in the Middle East, I analyze the institutional theories under which music is employed as a tool of American and Syrian policy, the imagined youths to whom the musical messages are addressed, and the actual sonic content tasked with political persuasion. At the reception side of the broadcaster-listener interaction, this dissertation addresses the auditory practices, histories of radio, and theories of music through which listeners in the sonic environment of Damascus, Syria create locally relevant meaning out of music and radio. Drawing on theories of listening and communication developed in historical musicology and ethnomusicology, science and technology studies, and recent transnational ethnographic and media studies, as well as on theories of listening developed in the Arabic public discourse about popular music, my dissertation outlines the intersection of the hypothetical listeners defined by the US and Syrian governments in their efforts to use music for political ends, and the actual people who turn on the radio to hear the music.

Orientador: Fabio Scarduelli / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-09-11T21:22:41Z (GMT). No. of bitstreams: 1 Thomaz_Rafael_M.pdf: 5789556 bytes, checksum: 9b682ecffe1b4bb9ad251549e8f124ff (MD5) Previous issue date: 2014 / Resumo: O violonista e compositor brasileiro Marco Pereira (1950) é reconhecido internacionalmente por suas composições para violão e por sua carreira como concertista e acompanhador no âmbito da música popular. Sua produção composicional é formada por peças para violão solo, música de câmara, peças concertantes para violão e orquestra e arranjos de música popular para violão. Este trabalho busca destacar e entender o caráter híbrido de sua produção, que constitui uma simbiose de diferentes vertentes das quais podemos destacar a música popular brasileira, o violão de concerto e o jazz. Através da análise dos aspectos híbridos e idiomáticos de sua obra e de aspectos característicos de sua performance, o trabalho visa contribuir para o entendimento de sua obra a partir de diversos pontos de vista / Abstract: The Brazilian guitarist and composer Marco Pereira (1950) is internationally recognized for his compositions for guitar and his acting career as a concert performer and accompanist in popular music. His compositional output consists of pieces for solo guitar, chamber music, pieces for guitar and orchestra and arrangements of popular music for guitar. This work aims to emphasize and understand the hybrid nature of his production, which is a symbiosis of different strands of which we can highlight Brazilian popular music, concert and jazz guitar. By analyzing The hybrids and idiomatic aspects of his work and characteristic aspects of his performance, the work aims to contribute to the understanding of his work from various points of view / Mestrado / Praticas Interpretativas / Mestre em Música

During the 1970s, the Parliament-Funkadelic collective, or P-Funk, performed a unique type of funk music that impacted the lives and culture of generations of fans. Their music has been a vital force in the developments of popular music, redefining the limits of concept albums and performances, and opened the doors to funk rock, hip hop, and neo-soul. I address the ways in which P-Funk has been received, interpreted, and reconstructed by the diverse constituents of American popular culture from the 1960s to the present. Each chapter explores a discrete interpretive community that has granted meaning to the collective from perspectives of history, music, iconography, consumer culture, and popular entertainment media. The resulting study unifies these threads through their engagement with history and the evolution of P-Funk through time. Ultimately, this thesis seek to shed light on a group that has lacked thorough scholarly attention.

Ricky Ian Gordon (1956-) is one of America¡¦s most distinguished contemporary composers. Though successful in writing for opera, dance, theater and film, he has gained great recognition for his song compositions. Composed in 1992, Genius Child is a song cycle of 10 songs which sets the poems of American poet, Langston Hughes (1902-1967). The study is divided into five parts for discussion: An overview of Gordon¡¦s life, art music of Gordon, an introduction to poet Langston Hughes; the background to composing Genius Child; and music analysis of six selected songs from Genius Child. By analyzing six songs from Gordon¡¦s Genius Child, the study is to discuss how Gordon tightly combines music and poems together through vocal, melody, rhythm and other music techniques, which enables to depict the poem¡¦s conception. Gordon often properly utilizes simple rhythms and relaxing genre of music, and integrates them with the textures and harmonies of classical music, to create elegant music with style. His music can appropriately reflect the conception and deep meaning of the poet writing a poem. In addition, Gordon adds popular music elements into music to express the styles of popular music, reflecting modern urban life.

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 214-238).

Thesis (Ph. D.)--UCLA, 2009. / Vita. Description based on print version record. Includes bibliographical references (leaves 310-314).

Thesis (Ph. D.)--Rutgers University, 2009. / "Graduate Program in Music." Includes bibliographical references (p. 170-176).