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Thesis (D. Phil.)--University of Stellenbosch, 2004. / ENGLISH ABSTRACT: The main objective of this study is to describe the nature and function of adolescent songwriting phenomenologically to ascertain the implications for music education. Secondary aims and research questions include ascertaining if and to what extent songwriting in adolescence serves as medium for emotional expression, self-therapy, socio-cultural cohesion and informal learning. Other secondary research aims are establishing the quality of the creative product and determining the implications for music education curricula in keeping with current curriculum development strategies. Adolescents’ engagement in music is considered as a socio-cultural phenomenon. Individuals’ interaction with music is thus considered on Doise’s (1986:10-16) four levels of social explanation: the intra-personal, the interpersonal, the positional level and the ideological level. On the intra-personal level music is viewed as a technology of the self (DeNora, 2000), a medium for selftherapy and mood control and technology of the body. On the inter-personal level music is discussed as a form of self-expression serving as communicative form. On the positional level music’s role in bonding between individuals, namely social cohesion, is expounded. Lastly, on the ideological level, music is considered as part of youth, youth culture and cultural identity. The compositional (songwriting) process is analyzed. Compositional modes, individual and collaborative, are identified and described and the creative process namely composing, is delineated according to creativity, creativity as social formation, creativity as process and the role and nature of informal learning. Adolescents use the process of songwriting to establish and enhance social cohesion, to further communication and expression with peers and to exert creative and intellectual activity in an informal learning environment. The creative product, adolescents’ songs, is analyzed and described. General perspectives and theories about musical analysis are addressed to include a broader, socio-cultural view of analysis to analyze adolescent music. The musical and lyrical features are analyzed within the context of their socio-cultural setting. The SOLO Taxonomy (DeTurk, 1988) is adapted and applied to propose an evaluation procedure for the lyrics. Dunbar-Hall’s (1999) five methods of popular music analysis are applied in combination with Goodwin’s (1992) soundimage model, synaestesia, to expand on the socio-cultural context of popular music analysis. The implications of musicology namely “formal music education” versus popular music styles and the effects of formal and informal learning strategies on songwriting are considered. A new understanding of musical analysis namely “musical poetics” (Krims, 2000) is adopted and the role that locality plays in this analysis is expounded. The role of notation and playing by ear is set out to validate the adolescents’ creative product. The research methodology employed in this research include group discussion, observation, experience sampling method (adapted from Larson & Csikszentmihalyi, 1983) and individual interviews and are described according to methodology, results and analysis of the results. General perspectives on music education curricula are considered in light of the possible contribution songwriting, as an informal learning activity, could bring to music education as composition is currently a high priority in international music education discourse and features prominently in current curricula. Recommendations and conclusions are made. / AFRIKAANSE OPSOMMING: Die hoofdoelstelling van hierdie studie is om die aard en funksie van liedjieskryf in adolessensie fenomenologies te beskryf om sodoende die implikasies vir musiekopvoedkunde te bepaal. Sekondêre doelstellings en navorsingsvrae sluit in die vasstelling van of en hoe liedjieskryf in adolessensie dien as medium vir emosionele ekspressie, self-terapie, sosio-kulturele binding en informele leer. Ander sekondêre navorsingsvrae sluit in die bepaling van die kwaliteit van die kreatiewe produk en die implikasies vir musiekopvoedkunde kurrikula met inagneming van huidige kurrikulumontwikkeling strategieë. Adolessente se interaksie met musiek word beskryf as ‘n sosio-kulturele fenomeen. Individue se interaksie met musiek word dus ontleed volgens Doise (1986:10-16) se vier vlakke van sosiale verduideliking: die intra-persoonlike, die inter-persoonlike, die posisionele en die ideologiese vlak. Op die intrapersoonlike vlak word musiek beskou as ‘n tegnologie van die self (DeNora, 2000), d.w.s as ‘n medium vir self-terapie en stemmingsbeheer asook as ‘n tegnologie van die liggaam. Op die inter-persoonlike vlak word musiek bespreek as ‘n vorm van self-ekspressie wat dien as kommunikatiewe vorm. Op die posisionele vlak word musiek se rol in die binding tussen individue, d.w.s. sosiale binding, beskryf. Laastens, op die ideologiese vlak, word musiek oorweeg as deel van jeug, jeugkultuur en kulturele identiteit. Die komposisionele (liedjieskryf) proses word geanalisser. Komposisionele metodes, individueel en gemeenskaplik, word geïdentifiseer en beskryf en die kreatiewe proses, naamlik komposisie, word gedelinieer volgens kreatiwiteit, kreatiwiteit as sosiale formasie, kreatiwiteit as proses en die rol en aard van informele leer. Adolessente gebruik die proses van liedjieskryf om sosiale binding te vestig en te bevorder, om kommunikasie en ekspressie met die portuurgroep te bevorder en om kreatiewe en intellektuele aktiwitiet in ‘n informele leeromgewing uit te oefen. Die kreatiewe produk, adolessente liedjies, word geanaliseer en beskryf. Algemene musiekanalitiese perspektiewe en teorieë word aangespreek om ‘n breër, sosio-kulturele uitkyk op analise in te sluit. Die musikale en liriese eienskappe word geanaliseer binne ‘n sosio-kulturele konteks. Die SOLO Taksonomie (DeTurk, 1988) word aangepas en toegepas om ‘n evaluasie prosedure vir die lirieke voor te stel. Dunbar-Hall (1999) se vyf metodes van populêre musiekanalise word toegepas in kombinasie met Goodwin (1992) se klankbeeld model, synaestesia, om uit te brei op die sosio-kulturele konteks van populêre musiekanalise. Die implikasies van musikologie, “formele musiekopvoedkunde” versus populêre musiek en die effek van formele en informele leerstrategieë op liedjieskryf word oorweeg. ‘n Nuwe begrip van musikale analise, naamlik “musikale poëtika” (Krims, 2000) word aangeneem en die rol van lokaliteit in analise word verduidelik. Die rol van notasie en op gehoor speel word aangespreek om adolessente se kreatiewe produk te regverdig. Die navorsingsmetodologie toegepas in hierdie navorsing sluit in groepsbespreking, observasie, ondervinding-steekproef metode (aangepas van Larson & Csikszentmihalyi, 1983) en individuele onderhoude en word beskryf volgens metodologie, resultate en die analise van die resultate. Aangesien komposisie tans hoë prioriteit in internasionale debat geniet en prominent geplaas is in huidige musiekopvoedkunde kurrikula word algemene perspektiewe op musiekopvoedkunde kurrikula oorweeg in die lig van die moontlike bydrae wat liedjieskryf as informele leeraktiwiteit aan musiekopvoedkunde kan bring.

This thesis examines the relationships between popular contemporary musical styles and classic-era art music. Analysis of pop-rock songs, and their referential treatment in art rock, classical music, and society will be examined. Pop-rock musicians borrow from the masters of the past and from each other. Rock guitarists such as Eddie Van Halen employ a virtuosic technique suggestive of Liszt and Paganini. The group Rush borrowed freely from opera seria. Frank Zappa referenced contemporary musicians as well as classical techniques. Referential treatment in popular music and the recent advancements in technology, have challenged copyright law. How these treatments and technologies affect copyright legislators and musicians will be discussed.

A sample of the top fifty songs of 1973 in Soul, Country-Western, and Easy Listening music is content-analyzed to determine dominant theme and type of love relationship presented. Most of the songs are about women and are sung by men. Hence, male artists continue to dominate the record industry. Criteria for evaluating direction of presentation are applied to lyrics to determine how men present women and women present men. Songs with the heterosexual theme are analyzed to determine conformity to six male and six female stereotypical traits. Males conform to the male stereotype in larger percentages than females conform to the female stereotype. Differences in female role expectations vary among the three genres.

This thesis examines the reflection of alternative music in the mainstream media and the reflection of mainstream music in the alternative media. The traditional dichotomous division of popular culture and music proposed mainly by academic fields of cultural and popular music studies provides a theoretical basis for the research. The practical part then analyses selected media content and attempts to verify the validity of these propositions in the context of contemporary music and media studies. The selected sample is composed of music articles derived from six Czech media (three of them mainstream and three alternative). The analysis itself focuses primarily on external characteristics which the author recognises from the specific references in the texts and which reflect the position of mentioned artists in the music industry, and the points of view expressed by journalists in their texts. This thesis thus aims to provide an overview of how Czech media reflect on these two allegedly oppositional contexts and deduces whether the dichotomous perception of mainstream and alternative is still relevant in contemporary music and media.

The Music Industry we knew 20 years ago has evolved into a completely different business. Major labels are scrambling to adapt to a new market created by digital streaming and the heavily dominated mobile environment. The purpose of this study is to explore the choice of remaining independent as a musician, and develop a systematic process that any aspiring artist or band manager can confidently follow to ensure their project has the best chance of success. Most of the published writings on this subject are either too broad, or too business-minded for the typical musician. This thesis provides a creative approach with the organization of the information. I present the process of band management in five chapters named after the five movements of traditional sonata form: The Introduction (Chapter 1) presents the various themes that are covered throughout the study, and describes the reasoning for using sonata form for organization and also elaborates on the author’s background. The Exposition (Chapter 2) describes the beginning stages of creating a band and establishing a creative project in the local music scene. This includes the initial formation of the band and its members, the process of networking within the local music scene, and an in depth explanation of how to effectively utilize all the “Essential Websites.” The Development (Chapter 3) describes the process of developing a band into a consistently gigging1 project. The main topics covered are booking shows, performing shows, recording and releasing an album, and what to focus on after it is released. The Recapitulation (Chapter 4) condenses the main topics of the thesis into a more palatable checklist of essential steps that musicians can easily reference throughout the process of managing their project. The Coda (Chapter 5) looks towards the future of the music industry, and serves as a prediction of how the previously effective methods apply to new technologies and website. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

Chan Ka Yan. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves p. 93-100). / Discography: p. 101. / Abstracts in English and Chinese. / Chapter Chapter 1 --- Introduction: Resistance & Incorporation in Subcultural Studies --- p.1 / Research Objective --- p.1 / The Case --- p.2 / Conceptualizing Subcultures --- p.3 / Resistance: An Antagonistic Relation between Subculture and Dominant Culture --- p.9 / Incorporation: An Exploitative Relation between Subculture and Dominant Culture --- p.12 / A Critique on Post-war Youth Subculture Studies --- p.15 / Local Studies on Subcultures and Alternative Music --- p.17 / Conceptual Framework --- p.21 / Research Methods --- p.22 / Major Argument and Outline of Paper --- p.28 / Chapter Chapter 2 --- Subcultural Discourse: Textual Analysis on LMF Music --- p.30 / Lazy Clan: Dominant Values vs. Subterranean Values --- p.31 / Hong Kong for Sure: Distrust of SAR Government --- p.34 / Challenging Music Industry --- p.35 / Attacking the Media: 'Uknuwudafuckimsayin' --- p.36 / Dramatized Masculinity --- p.38 / Subcultural Resistance? --- p.40 / Chapter Chapter 3 --- Youth's Body as a Battleground: Reception Studies --- p.45 / Domination --- p.50 / Negotiation --- p.57 / Resistance --- p.66 / "Conclusion: Discursive Struggle - Domination, Negotiation and Resistance" --- p.70 / Chapter Chapter 4 --- Dialectic between Incorporation and Excorporation --- p.73 / LMF in Mainstream Record Industry --- p.73 / LMF in Advertisements --- p.75 / LMF in Media --- p.77 / Conclusion: Dialectic of Incorporation and Excorporation --- p.80 / Chapter Chapter 5 --- "Conclusion: Populist Resistance, Multiple Identities and Imagined Authenticity" --- p.84 / Populist Resistance --- p.85 / Multiple Identities --- p.87 / Imagined Authenticity --- p.89 / References --- p.93

As the popularity of mashups attests, individual songs and their increasingly irrelevant prepackaged albums no longer seem to constitute a finished product to many who listen to them. Instead individual songs often serve as raw ingredients for use in another recipe – the playlist, the mix, the mashup – which those who buy the songs make and exchange. The strict division between producers and consumers, which the music industry exploited very productively throughout the twentieth century, seems to be breaking down, and I conclude that the mashup models a different, more fluid relationship between musical consumption and production. In this dissertation, I examine mashups from a music theoretical point of view. I argue that the mashup represents an important musical genre with distinguishing characteristics and its own historical development. Chapter 1 defines the mashup and devises a typology that classifies the genre based on two characteristics: number of songs combined and the mode of their combination (vertical or horizontal). This typology leads to the division of the mashup into four distinct subtypes. Chapter 2 discusses significant legal challenges raised by the mashup, especially with respect to copyright. Mashups – at least in recorded form – began as an underground, largely non-commercial phenomenon, due to the cost and difficulty of obtaining permission to use another artist’s recording. I also examine various pertinent musical lawsuits and discuss their influence on the way mashup artists make and distribute their works. Chapter 3 probes the historical factors that led to the development of mashups, including sampling in hip hop music (both recorded and live), collage techniques in art music, and looping and mixing by club DJs. Chapter 4 investigates the aesthetics of the mashup. Critics in the popular press and on the internet judge mashups without specifying the musical characteristics that make a particular mashup successful. This chapter seeks to locate the aesthetic principles that govern mashup production. Using commentary by mashup artists as well as transcription and analysis of several mashups, I divide these aesthetic principles into two categories: construction and meaning. I then develop a list of characteristics that mashup artists aim for when creating their tracks. / text

published_or_final_version / abstract / toc / Sociology / Master / Master of Philosophy

This study examined the personal and professional experiences of Canadian professional female popular musicians. The researcher gathered data in two phases. In phase one, 85 female musicians completed a 105-question on-line survey. In phase two, the researcher interviewed four musicians to expand and elucidate survey data. In keeping with a critical feminist approach, the researcher’s voice is prominent in the report. The study reveals a complex combination of personal and professional circumstances that both compel and impel women to become musicians, and then to cleave to or to abandon careers in the music industry. Families, peers, role models, and teachers all have some effect on personal and professional choices that musicians make. Gender stereotyping and sexual harassment prevail in both music education and the music industry, making these contested sites for women musicians. However, respondents’ identity as “musician” is a powerful force, in both personal and professional realms, making both education and industry also sites of triumph. Important findings include: respondents’ reflections on what makes for a successful pop musician; data revealed no essential biographical precursors for success in pop music; respondents’ opinions about the importance of music lessons are divided; and, along with credible technical music skills, musicians need to develop strong personal, social, and business skills. / Thesis (Master, Education) -- Queen's University, 2008-04-10 10:30:48.856