Este trabalho analisa a inserção de um grupo de músicos e compositores que surge no final da década de 2000 em São Paulo, denominado Nova MPB, num arranjo de forças que constitui o campo da música popular brasileira. Trata-se de caracterizar a estrutura de sentimento, definindo princípios implícitos e explícitos que permeiam a formação da Nova MPB, cristalizada na sua produção musical. Partindo do pressuposto de que a produção musical é uma produção social, o enredamento que sofrem esses artistas, tanto ao se inserirem num arranjo de forças em curso, quanto nas relações que mantém internas ao grupo, tem efeitos nos seus posicionamentos e composições. O objetivo deste trabalho é problematizar os processos sociais que envolvem a produção musical deste grupo enfocado. Dadas as novas formas de produção, distribuição e divulgação arranjadas pelos artistas, valendo-se de avanços tecnológicos, a Nova MPB colocase como protagonista de uma nova produção musical independente, de maneira autônoma e empreendedora. Os artistas formam uma rede colaborativa abrindo caminhos alternativos aos instituídos pela indústria fonográfica. Ademais, o pertencimento à fração artística da classe média intelectualizada e a proximidade da sonoridade de suas composições, ainda que com algumas exceções, reforçam os valores e princípios que conformam o grupo. Os artistas da Nova MPB se relacionam com a tradição da música brasileira de forma peculiar, se aproximando de figuras consagradas e enaltecendo nomes e momentos da história da música popular brasileira que foram obscurecidos pela atuação da indústria fonográfica. Os novos artistas intentam reescrever a história da música brasileira à sua maneira, incorporando gêneros e nomes antes desconsiderados. Por meio de homenagens, parcerias e releituras, eles se aproximam de figuras icônicas, consagradas ou em vias de consagração. A exaltação de momentos do passado dessa história pode ser interpretada como um dos princípios implícitos que compõe a estrutura de sentimento da Nova MPB. / This study aims at analyzing the insertion of a group of Brazilian musicians and composers, collectively known as Nova MPB, in the popular music field, understood here as a power structure. Our purpose is to understand the processes of collective construction of the symbolic positions within this field. The structure of feeling of the Nova MPB group is characterized by both the explicitly and the implicitly principles that guide its formation, which is crystalized in the musical production. Taking for granted that any musical production is a social production, we consider the artists suffer an entanglement as they are inserted in an undergoing power arrangement and as they build relations inside of the group. This entanglement affects their positioning and their compositions. The purpose of this study is to problematize the social processes involved in the musical production of the Nova MPB. Given the new forms of production, distribution, and diffusion proposed by the artists with the help of the new technologies, the Nova MPB, in an autonomous and entrepreneurial way, places itself as the protagonist of a new and independent musical production. A collaborative web is formed as the artists try to find alternatives to the imperatives of the phonographic industry. Although there are a few exceptions, the fact that the artists in general come from an intellectualized middle class and have a similar music style helps the creation of this notion of group. The Nova MPB artists have a peculiar relationship with the Brazilian music: they approach famous and recognized artists, as well as they praise obscure artists and musical movements that the phonographic industry has despised. The new artists intend to rewrite their history by means of the incorporation of long forgotten genres and artists. They approach the already renowned artists and the ascending ones as they organize tributes, produce new versions of their songs, and propose partnerships. The celebration of past moments of the Brazilian popular music history can be interpreted as an implicit principle that compose the structure of feeling of the Nova MPB.

Sun, Lin. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (p. 233-242). / Abstracts in English and Chinese. / Abstract --- p.i / Acknowledgements --- p.vi / Introduction --- p.1 / Chinese Youth Today and Japanese Popular Culture --- p.6 / Theoretical Context --- p.11 / Methodology --- p.29 / Structure of the Thesis --- p.48 / Chapter Chapter1 --- Chinese Youth Today: Choice and Constraint --- p.51 / Economic Conditions and the Only Child --- p.54 / Pervasive Japanese Popular Culture in China --- p.59 / Cultivation of National Identity: Mass Media and Schooling --- p.77 / A Proper Chinese Youth: Social Norms in Today's China --- p.89 / Summary --- p.93 / Chapter Chapter2 --- Being a Fan of Japanese Rock: Consumer Choice and Authenticity --- p.96 / Becoming a fan of Japanese Rock --- p.97 / Confirming the Japanese Rock Fan Identity: Being an Authentic Fan --- p.111 / West-Japan-the Rest of Asia: In the Eyes of Chinese Fans of J-Rock --- p.122 / Summary --- p.126 / Chapter Chapter3 --- Localizing Japanese Rock Fandom through Individual Consumption --- p.129 / "Fandom as ""a Private Religion""" --- p.130 / Fandom as Compensation for Lack of Romantic Love --- p.155 / Summary --- p.164 / Chapter Chapter4 --- Fan Community: Consuming Japanese Rock in Groups --- p.167 / Fan Community and Belonging --- p.167 / Hierarchy among Individual Fans: Glory and Pain --- p.178 / Summary --- p.185 / Chapter Chapter5 --- Japanese Rock Fan Identity Vs. National Identity --- p.187 / "The Chinese National Identity and the Japanese ""Soft Power""" --- p.187 / Becoming a Better Chinese through Japanese Rock Fandom --- p.201 / Pan-East Asianism or Cosmopolitanism? --- p.205 / Summary --- p.212 / Conclusion --- p.215 / The Real Appeal of Japanese Rock --- p.215 / Fans and Consumers of Popular Culture in Globalized China --- p.219 / Fandom: a Way of Life for Today's Urban Young Chinese --- p.224 / Appendix --- p.232 / Bibliography --- p.233

In this article I examine as mediations of urban experience poems written by Koos du Plessis. a contemporary Afrikaans poet. together with their musical rendition by Johannes Kerkorrel. a singer and musician from the Afrikaans altemative music scene and former member of Die Gereformeerde Blues Band. The poetry was initially published with musical arrangements in the volume Kinders van die Wind : En Ander Lirieke (1981) . In order to use this material in an article produced as part of an English study . I have translated the poetry into English . The translation (in linguistic and performative terms) of these poems has the dual effect of rendering them more appropriately for this study, and making them accessible to a wider audience. I am concemed with the way poems written by a poet from an earlier decade (the 1980s) interpret and mediate an urban identity and. further. with the fact that performance not only gives them a new lease of life. but also transforms them into works which have meaning and appeal for a more contemporary, broader audience. The fundamental issues addressed in this poetry , namely a response to and a negotiation of urban (South African) experience. continue to speak compellingly today. / Thesis (M.A.)-University of Natal, Durban, 2002.

This dissertation is an analysis of historical change within those cultural industries involved in the production and dissemination of popular music. Through an analysis of the relationship between the recording and radio industries within the United States, during the period 1976-1985, the manner in which crises within these industries arise and are resolved is traced. The emergence of such musical forms as "disco" and "New Wave", and the manner in which these forms have been integrated within the functioning of the music-related industries, are central concerns of the dissertation. At the same time, more general theoretical hypotheses concerning the role played by taste in the creation of audiences for different categories of popular music are elaborated and employed within the study of specific musical genres.

Orientador: Marcelo Siqueira Ridenti / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-17T16:13:32Z (GMT). No. of bitstreams: 1 Ghezzi_DanielaRibas_D.pdf: 2477441 bytes, checksum: d623bf06473e2dad3ee33ea33a69a7d7 (MD5) Previous issue date: 2011 / Resumo: O trabalho analisa o processo de modernização da música popular brasileira compreendido entre 1958 e 1968, passando pelas tendências da bossa nova, da canção de protesto, da "moderna música brasileira" e do tropicalismo. No decorrer desse processo deflagrou-se a sigla MPB, reconhecível a partir de 1965. O objetivo do trabalho é o de compreender a gênese e identificar os princípios musicais que se tornaram parâmetros legítimos da produção musical conhecida como MPB, bem como o de analisar o processo de autonomização de um campo de produção simbólica: o campo da MPB. / Abstract: The work analyzes the process of modernization of brazilian popular music between 1958 and 1968, going by the trends of the bossa nova, song of protest, the "modern brazilian music", and the tropicalism. During this process emerged the acronym MPB, recognizable since 1965. The objective is to understand the genesis and identify the musical principles that have become legitimate parameters of music production known as MPB, as well as to analyze the autonomization process of a symbolic production field: the field of MPB. / Doutorado / Sociologia da Cultura / Doutor em Sociologia

A presente dissertação tem como objetivo estudar o conjunto brasileiro Banda Mantiqueira, sua trajetória histórica e musical, sua produção artística e a elaboração de seu discurso musical, abrangendo o período que se estende do início dos anos 1990 até a atualidade. O primeiro capítulo volta-se para os precursores históricos da Mantiqueira. No capítulo 2, são apresentadas informações memoriais e historiográficas sobre a biografia de alguns de seus integrantes, bem como o surgimento, amadurecimento e consolidação do grupo. O terceiro capítulo propõe um mergulho no material musical produzido pela banda buscando, além da análise individual das performances de seus arranjos, um diálogo com as versões originais e/ou anteriores do repertório selecionado para estudo. Ao longo da última seção, são discutidas questões referentes às opções estéticas e poéticas assumidas pela Banda Mantiqueira. / The goal of this current dissertation is to study the Brazilian Group Banda Mantiqueira, its musical and historical path, its artistic production and the development of its musical discourse from the beginnings of 1990 until nowadays. The first chapter is dedicated to the historical forerunners of Mantiqueira. The second chapter displays historical and mnemonical data about some of its members as well as its appearance, maturation and consolidation. The third chapter proposes a diving into the works produced by the band including, besides the analysis of its individual performances, a dialogue between them and the older versions of the repertoire chosen for this study. Throughout the last section it will be discussed the aesthetical and poetical options taken by the Banda Mantiqueira.

Orientador: Maria Viviane do Amaral Veras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T07:47:27Z (GMT). No. of bitstreams: 1 Meinberg_AdrianaFiuza_M.pdf: 1245656 bytes, checksum: edd7db261afb70073aee2489590bb27a (MD5) Previous issue date: 2015 / Resumo: Este trabalho reflete sobre a canção vertida e cantável (do português para o inglês e do inglês para o português), entendendo que considerá-la somente com base na letra seria tirar dela toda a poesia, uma vez que seu valor poético está cravado de sentimentos que a música vem acordar. Minha proposta é oferecer uma nova escuta para a versão cantável de canções populares, partindo do princípio de que são criadas para serem cantadas, por serem uma combinação de letra e música, passando assim a intercambiarem uma teia sempre renovável de significações. Além disso, mostrar que essa teia de significações é criada e articulada não somente pelo versionista, mas também pelo cantor e pelo arranjador, que atuam como coautores. Para tanto, o corpus da pesquisa faz um recorte que seleciona canções vertidas do português para o inglês no disco Brasil (1987), gravado pelo grupo vocal americano The Manhattan Transfer, com canções brasileiras de Ivan Lins, Djavan, Milton Nascimento e Gilberto Gil. O trabalho também se apoia, para efeito de comparação, em um breve estudo das versões do inglês para o português criadas por Carlos Rennó. Apliquei à escuta e ao cotejo dessas canções a abordagem teórica oferecida principalmente pelo Princípio do Pentatlo de Peter Low e por Klaus Kaindl em sua perspectiva sociossemiótica / Abstract: This study draws some thought on translated and singable popular songs (from Portuguese into English and from English into Portuguese), understanding that considering only the lyrics as analysis basis would probably have all its poetics withdrawn, since there poetic density is engraved with feelings awaken only by the music. My proposal is to offer a new hearing to singable versions of popular songs, having in view that a song is created to be sung, as they are a match of lyrics and music, and therefore both exchange an ever renewable web of meanings. In addition, the present research aims at pointing that not only the translator plays a role in the way such web is created and articulated, but also, and particularly, the singer and the arranger play a coauthor's role. In order to do so, the corpus of this research comprises songs translated from Portuguese into English, found in the album Brasil (1987), recorded by the American vocal quartet The Manhattan Transfer, that sings translated tunes by Ivan Lins, Djavan, Milton Nascimento and Gilberto Gil. The work also refers to the songs translations from English into Portuguese created by Carlos Rennó.. The proposed listening was approached having in view the theoretical ground provided mainly by Peter Low's Principle of Pentathlon and Klaus Kaindl's socio-semiotics approach to popular song translation / Mestrado / Linguagem e Sociedade / Mestra em Linguística Aplicada

Sangpuy Katatepan Mavaliyw is a Taiwanese Aboriginal pop artist of the Pinuyumayan ethnic group. His albums have been acclaimed by Aboriginal listeners and Han-Taiwanese mainstream music critics for capturing the traditional Aboriginal sound and evoking the presence of the ancestors. In this thesis, I explore why Sangpuy's songs are understood to evoke ancestral spirit imaginary using a semiotic approach. I compare his music to traditional Pinuyumayan music such as pa'ira'iraw and shamanic songs to demonstrate how he uses similar musical gestures to evoke the sense of ancestral spirits. Other sonic elements such as the inclusion of the soundscape of a Pinuyumayan village provides a direct link to the lived experiences of the Pinuyumayan. I also position Sangpuy's music in the broader context of nationalism in Taiwan and how Sangpuy uses his music to negotiate Aboriginal issues such as land rights and environmentalism. Through this analysis, I demonstrate how Taiwanese Aborigines are incorporating their Indigenous ideology into popular music to carve out a space for themselves in Taiwanese society and garner more support for Indigenous rights in Taiwan.

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