Orientador: Alberto Tsuyoshi Ikeda / Banca: José Roberto Zan / Banca: Ivan Vilela Pinto / Banca: Tânia da Costa Garcia / Banca: Carlos Eduardo Di Stasi / Resumo: 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 / Abstract: 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 / Doutor

Orientador: Jose Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T03:00:59Z (GMT). No. of bitstreams: 1 Santos_FabioSaitodos_M.pdf: 5713389 bytes, checksum: a4043a3fa76709fbad181630163337be (MD5) Previous issue date: 2006 / Resumo: Composta de parte da produção musical de setores da classe média carioca da década de 1950, a Bossa Nova surgiu num momento de profundas transformações nas estruturas sociais do país. Associada à ascensão das camadas médias urbanas, à transformações técnicas na indústria fonográfica, dentre outros processos, aquela música foi foco de intensa discussão nos meios de comunicação e posteriormente no meio acadêmico. O principal debate tratou da autenticidade daquela música, orientado por noções como de identidade, nação, libertação e identidade nacional construídas anteriormente na história do Brasil, chamadas de nacional-popular. Ocorreu que enquanto setores mais conservadores afirmavam que ela tomava emprestado procedimentos do Jazz, advindos do intenso influxo da cultura norte-americana, outros defendiam que ela se apresentava como uma alternativa moderna e brasileira à pr.ogramação predominantemente estrangeira das rádios. Enfocando esse debate da influência do Jazz, foram realizadas resenhas de cinco autores que escreveram nos primeiros anos do fenômeno bossanovista - Brasil Rocha Brito, Júlio Medaglia, Ramalho Neto, Aloysio de Oliveira e José Ramos Tinhorão. A partir do confronto entre a análise musical e auditiva dos aspectos da melodia, harmonia, ritmo, forma, instrumentação e arranjo de nove canções bossanovistas e o trabalho desses autores, procura-se demonstrar que a noção de influências do Jazz constituiu um construção simbólica, orientada por aquela ideologia nacional-popular. Além disso, ao detectar uma diversidade nas prática e procedimentos empregados no interior do repertório analisado,'também se questiona a unidade da produção musical bossanovista. / Abstract: Composed of part of the musical production of sectors of the middle class of Rio de Janeiro ca. 1950s, Bossa Nova music appeared at a moment of profound transformations in the social structures of Brazilian society. Associated with the ascension of the urban middle classes, and the technical transformations in the phonographic industry, amongst other processes, this music was the focus of intense quarrel in the media and, later, in the academy. The main debate dealt .with the authenticity of this music, and the argument was strongly influenced by notions of identity, nation, liberation and national identity - ideas previously constructed in Brazilian history and collectively called national-popular. While conservative sectors affirmed that Bossa Nova music loaned musical procedures ITom Jazz associated with the intense influx of the North American culture, others defended that it presented itse1f as a modern and Brazilian alterative to the predominantly foreign radio programme. This work focuses on this debate of the influence of Jazz music. Summaries of tive Brazilian authors who wrote in the early years of the Bossa Nova Phenomenon were written: Brazil Rocha Brito, Júlio Medaglia, Ramalho Neto, Aloysio de Oliveira and Jose Tinhorão Tinhorão. Through the confrontation of the literary works of these authors and the musical and auditory analysis of the aspects of the melody, harmony, rhythm, form, instrumentation and arrangement of nine Bossa Nova songs, it is demonstrated that the notion of influences of Jazz music constitute a symbolic construction, guided by the national-popular ideology. Moreover, while detecting diversity in the procedures used within the in scope of the analyzed repertoire, the unity ofthe Bossa Nova repertoire is questioned. / Mestrado / Mestre em Música

Orientador: Marcos Siqueira Cavalcante / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T14:36:55Z (GMT). No. of bitstreams: 1 Batista_AdrianodeCarvalho_M.pdf: 713091 bytes, checksum: a2b6db85291dd1dc0d5a08dd668648f8 (MD5) Previous issue date: 2006 / Resumo: Essa dissertação é um estudo sobre a formação e aplicabilidade das chamadas Tétrades na guitarra elétrica. O presente trabalho descreve o processo de construção de tais acordes, além de sistematizar alguns procedimentos de expansão harmônica levando em consideração as características técnicas e idiomáticas do instrumento. O estudo ainda busca organizar, de maneira sistêmica, as principais aberturas de acordes usadas na guitarra elétrica para a confecção de encadeamentos harmônicos aplicados em acompanhamento de importantes gêneros da Música Popular. Por meio das análises de transcrições também é possível perceber claramente os procedimentos estudados ao longo da pesquisa. Desta forma, esse trabalho é uma tentativa de amenizar as lacunas existentes na metodologia de ensino da guitarra, e se propõe a contribuir para a organização e elaboração do material harmônico utilizado por este instrumento. Além disso, também poderá ser utilizado como método ao estudo da harmonia e construção de tétrades na guitarra, para alunos ingressantes no ensino superior, assim como alunos dos cursos de música em nível fundamental e médio / Abstract: Four-Note Chord Voicings: A Harmonic Study of the Electric Guitar This research project is about the construction and application of four-note chord voicings for the electric guitar. The present work describes the building process of these chords and introduces a systematic procedure for harmonic expansion, taking in consideration the technical characteristics and idiomatic nature of the instrument. This study attempts to organize the main voicings used on the electric guitar to create harmonic cadences applied in the rhythm sections of important styles of Contemporary Popular Music. The procedures studied and utilized for this work are clearly evident through transcriptions and analysis. This work proposes to diminish the existing gaps in the study of four- note chord voicings and contribute to the organization and elaboration of study material for the instrument. Besides, it could be a method to the study of harmony and the building process of the four note chord voicings to the beginners in the college as well as students at basic and intermediate stages / Mestrado / Mestre em Música

Orientador: José Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T07:43:25Z (GMT). No. of bitstreams: 1 Machado_AdelcioCamilo_M.pdf: 34560506 bytes, checksum: ff0682b1007467b2e1c3b0e9daee2274 (MD5) Previous issue date: 2011 / Resumo: Depois de ter experimentado certa queda de popularidade ao final da década de 1960, o samba voltou a aparecer com grande força no mercado da música dos anos 1970, revelando uma série de novos artistas e figurando constantemente nas paradas de sucesso do período. Todavia, uma parte desse repertório veio acompanhada por juízos negativos de alguns críticos musicais, que a consideravam como expressão da "decadência" do samba, sobretudo da canção engajada da década anterior. A presente dissertação buscou estudar esse segmento do samba através da produção musical de Antonio Carlos e Jocafi, Benito di Paula e Martinho da Vila. Procurou-se perceber de que maneira esses artistas se posicionaram no campo musical daquele período, que tipo de relação estabeleceram com o repertório hegemônico, quais referenciais orientavam a legitimidade dos produtos musicais, e de que maneira sua produção se relaciona com as transformações políticas, econômicas e culturais que aconteceram na transição da década de 1960 para a de 1970 / Abstract: After having experienced some drop in popularity in the late 1960s, samba reappeared with great strength in the music of the 1970s, revealing a series of new artists and constantly appearing on the charts of the period. However, a portion of this repertoire has been accompanied by negative judgments of some music critics, who considered it as an expression of samba "decadence", primarily the engaged song of the previous decade. This dissertation aimed to study this segment of samba through the musical production of Antonio Carlos and Jocafi, and Benito di Paula Martinho da Vila. We sought to understand how these artists positioned themselves in the musical field of that period, what kind of relationship they established with the hegemonic repertoire, which references guided the legitimacy of music products, and how its production was related to the political, economic and cultural changes that occurred in the transition from the 1960s to the 1970s / Mestrado / Fundamentos Teoricos / Mestre em Música

Master of Science / Department of Journalism and Mass Communications / Robert W. Meeds / The advertising industry press has been writing about the increase in use of popular music in television commercials, yet there is little to no scholarly quantifiable data to support such press. This study investigates how popular music in television commercials is being utilized and how much is being used. A content analysis of 1,046 prime-time television commercials was conducted to further examine the use of popular music in television commercials and how its use related to observable executional variables in the manifest content. The study found that of the 574 unique commercials, 64% of the commercials used popular music. The results suggest that of the different types of music coded, popular music was in fact the most prominent. This musical prominence could be the result of the advertisers' mission to target the younger audience (18-39) and as such, use the music that is most popular among this age group. Implications for future advertising research and strategy are discussed.

This thesis examines the music of contemporary British progressive rock artist Steven Wilson and explores the ways in which specific musical influences have informed and shaped his work. Wilson’s solo output is extremely eclectic and draws from a plethora of diverse genres including progressive rock, electronica, metal, drone, pop, jazz, and industrial. Although it would be impossible to trace all of the influences involved in Wilson’s unique musical idiolect, I study the influence of three seminal tracks upon his work: progressive rock band King Crimson’s “The Court of the Crimson King” (1969), electronica duo Boards of Canada’s “An Eagle in Your Mind” (1998), and progressive death metal group Opeth’s “Blackwater Park” (2001). I demonstrate how Wilson’s recordings share timbral and formal features with these earlier works and consider the analytic implications through the lens of genre theory. The findings are then synthesized through a focused analysis of Wilson’s “Ancestral” (2015) in order to explore genre fusion and demonstrate how these salient musical features are integrated within a single song. This project ultimately seeks to situate Wilson within the progressive rock tradition, consider the role of timbre and form in popular music genres, and investigate the complex relationship between genre and influence.

Orientador: Antonio Rafael Carvalho dos Santos / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-08T03:10:40Z (GMT). No. of bitstreams: 1 Lima_AdrianoFagundesOliveira_M.pdf: 1384309 bytes, checksum: 009724025c8fc3ab9b2f5d9cd9d8d8fb (MD5) Previous issue date: 2006 / Resumo: O presente trabalho ocupa-se em pesquisar os policordes, formações acordais compostas pela sobreposição de uma ou mais tríades ou tétrades sobre uma base simples ou composta, discutindo as diferentes formas como são encontrados e oferecendo uma proposta de sistematização. Por tratar-se de uma linguagem relativamente nova, procurou-se primeiramente investigar como eles são apresentados conceitualmente e graficamente nos trabalhos de diversos autores e sugerir uma sistematização baseada nessas informações. Em seguida, buscou-se identificar, com base nesta proposta de sistematização, sua utilização no repertório de música brasileira / Abstract: This work is concerned in researching the polychords, chordal structures formed by the superimposition of one or more triads or thetrads over a simple or complex base, discussing the different ways they are found and proposing a system for it¿s use. Being such a new language, primarily this work searches for how they are presented both conceptually and graphically in different works of several authors and suggests a system based upon these informations. Secondly, this work tries to identify, based upon this system proposal, the use of the polychords in popular music / Mestrado / Mestre em Música

This thesis analyzes the construction of racialized notions of authenticity within American popular musical genres across the span of the 20th Century, but especially from a crucial period between the years 1938 and 1965. In these pages I argue that the discursive construction of genres is a narrative act, one intended to provide symbolic resolution to real and felt dilemmas in people's lives. My first chapter focuses on the singer, Nat "King" Cole, arguing that the retrospective construction of the rock and roll genre as an example of a hybrid or crossover musical from by critics in the late 1960s and early 1970s helped fix in the popular imagination a notion of "authentic black music" which effectively marginalized Cole, an important African American musician whose musical style was at odds with this critical construction of racial style. My second chapter argues that jazz trumpeter John Birks "Dizzy" Gillespie's efforts to combine African American and Afro-Caribbean musical forms included a strategic discursive crafting of a narrative of origins which placed jazz as an expression of musical Afro-internationalism. My third chapter argues that critics and audience involved in the blues revival of the early 1960s reconstructed what had been a female-dominated African American popular form as a kind of unpopular popular music: music distinguished in the marketplace by its supposed transcendence of the marketplace via its vernacular roots, and as a musical form dominated by the male figure of the rural bluesman. In conclusion I argue that these efforts to narrate authentic and anti-capitalistic origin for and expressions of popular, commercial forms reveal, within the American public imagination, deep-seated anxieties about the gulf between the cultural influence of African American music and the social and political situation of African American citizens, and, on another level, anxieties about the contradictions inherent in the experience of transcendent pleasure through commercial musical forms.

This study concerns itself with the changing characteristics of singing within popular music. It does so by examining 100 of the most successful songs – “most successful” denoting the top selling songs, or the songs with the highest chart positions – of the last 100 years, selecting 10 songs from each decade. All 100 songs were analyzed with regards to the vocal range the singer sang in; the range between the bottommost note and the topmost note was measured (referred to as ”låtomfång”). Here it was found that the overall range shrunk and lowered during the first half of the 20th century, and then expanded and rose during the second half.  The use of physically produced vocal effects – such as distortion or breathy voice – of the 20 most popular songs (two from each decade) was also examined. Here it was found that the presence of vocal effects in the popular music analyzed in this study has developed along a similar curve to that of the vocal ranges. This means that an overall decrease of the use of vocal effects happened until the mid 20th century, whereas an overall densification of the presence vocal effects took place during the second half of the 20th century. It would also seem that the types of vocal effects more commonly used in current popular music is less associated with classical singing than the vocal effects that were in use in older popular music.

Spectrogram analysis of the most popular works of Adam Young’s four major projects; Owl City, Sky Sailing, Port Blue, and The Score Project. Spectrograms reveal several elements separate to what waveforms can show, and better show elements like frequency saturation, frequency ranges, overtones, and timbral sections. All these elements also can be used to better describe the phenomenon of the Autonomous Sensory Meridian Response (ASMR) and can also be seen on a spectrogram. Because of the ability to see these different elements, a spectrogram provides a good vehicle to analyze and compare elements of Young’s works and ASMR.After analysis, Young’s works show similar types of spectrograms to ASMR content, but the link between the influences between the two is not certain, it is probable that popular music and the ASMR phenomenon are linked in some measurable way. This thesis provides insight into how to further and continue music and ASMR research.