Thesis (Ph. D.)--UCLA, 2006. / Vita. Includes bibliographical references (leaves 268-298).

Thesis (Ph. D. in History)--University of California, Berkeley, December 1992. / Includes bibliographical references.

Thesis (M.A.)--Georgia State University, 2009. / Title from title page (Digital Archive@GSU, viewed June 16, 2010) Jeffrey Bennett, committee chair; Ted Friedman, Kathryn Fuller-Seeley, committee members. Includes bibliographical references (p. 96-104).

Thesis (doctoral)--Universität Hamburg, 1991. / Includes bibliographical references (p. 308-334) and indexes.

Thesis (Ph. D.)--University of Wisconsin--Madison, 2002. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (p. 506-521).

Thesis (M.A.)--University of Alberta, 2010. / Title from PDF file main screen (viewed on July 9, 2010). "A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirements for the degree of Master of Arts, Department of Music ... Fall 2010, Edmonton, Alberta". Includes bibliographical references.

Thesis (M.A.)--York University, 2005. Graduate Programme in Social Anthropology. / Typescript. Includes bibliographical references (leaves160-169). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11765

Thesis (Honors)--College of William and Mary, 2009. / Includes bibliographical references (leaves 107-119). Also available via the World Wide Web.

Made available in DSpace on 2014-06-11T19:32:56Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-05-21Bitstream added on 2014-06-13T20:44:19Z : No. of bitstreams: 1 higa_er_dr_ia.pdf: 1565089 bytes, checksum: 443d1222c1470a1e71d2c392daf1ab51 (MD5) / A introdução, apropriação, ressignificação e hibridação da guarânia paraguaia no Brasil na primeira metade do século XX, possibilitaram a emergência dos gêneros musicais denominados rasqueado e moda campera, em um processo que envolveu lutas entre as representações da identidade nacional e as representações da cultura de fronteira com o Paraguai. A partir da análise de gravações de discos 78 rpm, é possível constatar a transformação e adaptação de estruturas musicais feitas por compositores e intérpretes brasileiros nas décadas de 1940/50, revelando práticas que, mesmo conectadas com a cultura fronteiriça, não se desvinculavam de um sentimento nacionalista. Além das questões de ordem musicológica, as circunstâncias que possibilitaram a penetração da guarânia no Brasil devem ser consideradas a partir das particularidades históricas, sociais, econômicas e culturais que demonstram o quanto os gêneros musicais na música popular carregam em sua significação a heterogeneidade dos vínculos identitários e as disputas de territórios simbólicos / The introduction, appropriation, resignification and hybridization of the Paraguayan Guarania in Brazil during the first half of the 20th century, have allowed the emerge of the musical genres known as rasqueado and moda campera, during a process that involved struggles between the national identity representations and the representations of the border culture with Paraguay. From the analysis of 78 rpm disc recordings, it is possible to visualize the transformation and the adaptation of musical structures made by Brazilian composers and performers in the 1940s/50s, revealing practices that even connected with the border culture did not disentail from a nationalist sentiment. Beyond the musicological issues, the circumstances that have allowed the Guarania penetration in Brazil should be considered from the historical particularities, social, economic and cultural achievements that demonstrate how much the musical genres in popular music carry in its meaning the heterogeneity of the identitaries ties and the symbolic territory disputes

Orientador: Carlos Eduardo Di Stasi / Banca: Eduardo Seincman / Banca: Leandro Barsalini / Banca: José Leonardo do Nascimento / Banca: Yara Borges Caznok / Resumo: Esta pesquisa é dedicada ao estudo da trajetória artística e da obra musical do intérprete e compositor Jackson do Pandeiro (1919 - 1982) e suas relações no campo da Música Popular Brasileira (MPB). Jackson ocupa um lugar de destaque na história da MPB, sendo apontado por diversos artistas, como Gilberto Gil, Lenine, João Bosco, Gal Costa, Guinga, entre muitos outros, como referência fundamental para este campo artístico e cultural, influenciando suas próprias obras musicais. A produção artística de Jackson é muito diversificada, constituindo-se de gêneros musicais variados como o coco, o samba, o forró, a marcha carnavalesca, o baião, entre outros, relacionados à pluralidade de identificações que participaram de sua formação artística e cultural, e que é observada neste estudo por meio das ideias do antropólogo Victor Turner, notadamente sobre o conceito de liminaridade e seu desdobramento na noção de liminóide. A Tese sustentada aqui é que Jackson do Pandeiro se caracterizou por uma condição liminar/liminóide que, associada ao seu virtuosismo como artista/intérprete, possibilitou-lhe realizar uma série de mediações, por meio de sua obra, que lhe trouxeram destaque no campo da MPB, desde o período em que estava em atividade e mesmo após a sua morte, em 1982, chegando até o momento atual, em 2017. Para tanto, este trabalho investiga a trajetória artística de Jackson do Pandeiro procurando verificar de que modo foram realizadas estas mediações e as formas como sua figura foi r... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This research is dedicated to the study of the artistic trajectory and musical work of the performer and composer Jackson do Pandeiro (1919 - 1982) and their relations in the field of Brazilian Popular Music (BPM). Jackson has a prominent place in the history of BPM, being pointed by several artists, as Gilberto Gil, Lenine, João Bosco, Gal Costa, Guinga, among many others, to be a fundamental reference for this artistic and cultural field, influencing their own musical works. The artistic production of Jackson is very diversified, constituted by a variety of musical genres as the coco, the samba, the forró, the carnival march, the baião, among others, related to the plurality of identifications that participated in his artistic and cultural formation, and which is observed in this study through the ideas of the anthropologist Victor Turner, notably on the concept of liminality and its unfolding in the notion of liminoid. The thesis held here is that Jackson do Pandeiro was characterized by a liminal/liminoid condition that, combined with his virtuosity as an artist/performer, enabled him to make a series of mediations, through his work, that brought him prominence in the field of BPM, from the period in which he was active and even after his death, in 1982, reaching the present moment, in 2017. In order to do so, this work investigates the artistic trajectory of Jackson do Pandeiro, seeking to verify how these mediations were realized and the ways in which his figure was resignified over time, including the observation of discourses that permeate the field of BPM and contributed to the construction and consolidation of his image as the "King of Rhythm". In this investigation there is also a study on Jackson's vocal performance, especially focused on his form of rhythmic-melodic enunciation, popularly called "divisão" ... (Complete abstract click electronic access below) / Doutor