Popular music life is permeated by both male dominance and gender segregation – the latter most notably concerns musical instrument choice. The pervasiveness of these phenomena is suggested by both music research on gender and statistics. In this study, the overarching ambition is to explain boys' reproductive approaches to popular music/making. In order to successfully carry out a study with such an explanatory ambition, a theory of causality in social life is necessary. In this thesis the notion of causality is taken from a critical realist tradition. However, explanation and causal analysis is most often rejected among music researchers who deal with questions of gender. Nonetheless, I would argue that explanatory ambitions are tacit starting points in this kind of research, and the field would stand to gain from making them explicit. Therefore I have formulated two aims, which my study addresses. The first one is to explain boys' reproductive approaches to popular music/making, in regard to male dominance and gender segregation. The second one is more theoretically oriented: to apply critical realism within music research on gender. The aims has been fulfilled by, first, identifying the boys' adoption of and distancing from different approaches to popular music/musicians and musical instruments. Second, the boys' approaches are explained by reconstructing the social, cultural and psychological conditions that has enabled them. Altogether, this demonstrates why and how the boys' reproductive approaches arise, which (potentially) lead to a reproduction of the male dominance and gender segregation within the popular music field.

Notre sujet de recherche est le compositeur brésilien Antônio Carlos Jobim. Il est né à Rio de Janeiro dans les années 1920, époque de grandes transformations socioculturelles au Brésil, mais aussi en Europe. Il est un compositeur issu de la musique populaire brésilienne, qui sera l’un de principaux acteurs responsables de transformations de cette musique. Son essence est sa caractéristique savante/populaire qui s’illustre symboliquement dans le concept de « l’anthropophagie ». Notre problématique est liée à la «modernité » dont fait partie Jobim, et à ses effets sur la musique populaire. C’est pourquoi nous avons analysé des compositions et des arrangements de Jobim, ce qui nous a servi à élucider son style, tout comme les diverses influences qu’il a reçues. En tant que compositeur et auteur, nous avons choisi une optique interdisciplinaire pour analyser son langage et son discours musical. Les principales sources d’intérêt de cette recherche sont d’abord, qu’elle traite de la musique savante européenne et brésilienne de la fin du 19e et du début du 20e siècle, de certaines musiques populaires, et de la façon dont elles s’incorporent dans la musique « moderne » brésilienne de Jobim. En effet, le manque de travaux universitaires sur le sujet, en tous cas dans cette optique musicologique, a motivé notre recherche. D’autre part, l’impact de ce compositeur à l’échelle internationale est important car, au-delà de synthétiser une partie de la musique populaire à travers son langage, il va s’inscrire comme un compositeur charnière qui aura marqué son époque. / The subject of my research pertains to the Brazilian composer Antônio Carlos Jobim. As composer and author, I have chosen an interdisciplinary approach, between music and musicology. There is an analysis of his musical language and his musical speech. He was born in Rio de Janeiro in the 1920s, during the period of the big cultural transformations in Brazil, and also in Europe. The main issue is connected to the brazilian popular music and the "modernity" of which Jobim is a representative. He is a composer bound to the brazilian popular music, and will be one of the main actors responsible for the profound evolutionary transformations of this music. My topic is connected with modernity, a specific feature of Jobim, and its impact over popular music. I have therefore analysed Jobim original themes, as well as its arrangements. From this, we have been able to characterize its style, and its influences. I have also chosen an interdisciplinary approach to analyse its musical language. The main interest of this research is that it deals with the erudite music from Europe and Brazil at the end of 19th century and beginning of 20th century, with some popular music and the way that they get intertwined. Indeed, the lack of university research work in this direction has motivated my research. Eventually, this musician appears as a key composer of its time, with a large international impact, in addition to his large synthesis capacity.

This paper addresses the peculiar topic of western music in post 1968 Czechoslovakia with emphasis on the official music scene. It shows how western music was actually treated in Czechoslovakian society and how the image of western music was shaped within the public discourse , including many significant ambiguities. It also follows various ways (legal and also illegal) in which ordinary people used to obtain foreign music records in the era of late socialism. An analysis of actual impact of western music on Czechoslovak popular music and the role of institutions within that is also present. This paper could thus be considered as a modest contribution to the social and cultural history of socialist dictatorships.

This dissertation shows how gay, trans and queer performers in Brazil, Portugal, and Angola, working in traditionally misogynistic, homo- and transphobic popular music genres, have successfully claimed and refigured those genres and repertoires through iterations of transgender voices and bodies. I show how Pabllo Vittar, Fado Bicha and Titica refigure normative gendered conventions of sex and song through trans formations of popular music genres. I locate them within a genealogy of queer Luso-Afro-Brazilian popular music practices and performances that deploy trans formations of voice, body, and repertoire. I trace a genealogy of transgender voice in Brazilian popular music to Ney Matogrosso’s 1975 debut release, through which I reveal a cacophony of queer, indigenous and Afro-Brazilian intersections; and in Portuguese popular music to António Variações 1982 debut, through whom I trace a fado genealogy of Afro-diasporic cultural practices, gender transgression and sexual deviance. Finally, I locate Titica’s music in practices of the black queer diaspora as a refiguring of Angolan postcolonial aesthetics. Together, these artists and their music offer a queer Luso-Afro-Brazilian diaspora in spectacular popular music formations that transit beside and beyond the Portuguese-speaking world, unbound by it, and refiguring hegemonic Luso-Afro-Brazilian discourses of gender, sexuality, race and nation.

Este trabalho se interessa pelas reconfigurações na ordem do simbólico em sociedades latino-americanas a partir do início dos anos 1990 em vista do processo transnacional de hegemonização do capitalismo pós-industrial a partir da aplicação de políticas neoliberais. Na tentativa de interceptar efeitos de sentido produzidos sob essa conjuntura, nos centramos num determinado campo da produção de bens simbólicos: a música popular (MP). O objeto se especificou a partir de um recorte de produções da MP latino-americana que: i) participassem das disputas simbólicas em torno do rock considerado nacional nesse contexto, e ii) fossem definidas ou se auto definissem a partir de noções como mistura, fusão, hibridismo etc. Nossa pergunta norteadora foi, então: nas condições de produção em que foram formuladas, em que medida e de que modo as relações de dentro-fora, que necessariamente devem funcionar sob a noção de mistura, são determinadas, nas produções musicais de interesse, pelo funcionamento de uma dicotomia local vs. forâneo, característica da própria formação das culturas latino-americanas? Como a natureza do próprio objeto não admitia conclusões sobre predomínios, desenvolvemos um estudo comparativo de dois casos, em busca de regularidades discursivas: as bandas Bersuit Vergarabat (Argentina) e Chico Science & Nação Zumbi/Nação Zumbi (Brasil). Nosso objetivo foi, então, investigar como se determinavam discursivamente o local e o forâneo em suas produções. Para isso, analisamos um corpus de canções de cada uma das bandas, além de outros tipos de materiais presentes nos próprios álbuns das agrupações, assim como entrevistas, reportagens e documentários realizados com seus integrantes. Estudamos, a princípio, como a determinação de local e forâneo se dava na construção do próprio fazer criativo/musical como objeto de discurso, com especial atenção à relação de tal construção com gêneros ou tradições musicais. Ao realizar tal abordagem analítica, chegamos também à observação de que a tematização da desigualdade social parecia ser decisiva na determinação discursiva de local, em ambos os casos estudados. Essa observação nos levou, então, à articulação de um segundo eixo de análise a partir de um conjunto de canções reunido em vista dessa questão. De modo geral, nosso trabalho assume uma perspectiva materialista de análise de discurso, mas mobiliza também conceitos de outras linhas teóricas de abordagem ao discurso e à enunciação. As análises realizadas focaram, fundamentalmente: a cenografia enunciativa, especialmente quanto à correlação entre instâncias de pessoa e lugares de dizer; e a constituição de objetos discursivos, buscando refletir constantemente sobre a textualização do interdiscurso e abordando mecanismos como a cadeia correferencial, as construções relacionadas ao contraste, os papeis temáticos, entre outros aspectos da materialidade discursiva. Além disso, no tratamento às canções, buscou-se considerar, no interior do dispositivo analítico, também aspectos da materialidade musical e corporal (performática) da canção. / This paper is interested by the reconfigurations in order of the symbolic in Latin American societies across the beginning of the 1990s in view of the transnational hegemonizing process of post-industrial capitalism through the application of neoliberal policies. In the attempt to intercept effects of meaning produced under this conjuncture, we centered on a specific field of the production of symbolic goods: the popular music (MP). The object was specified through a clipping of Latin American MP productions that: i) took part in the symbolic disputes surrounding rock considered \"national\" in this context, and ii) were defined or self-defined through notions like \"mix\", \"fusion\", \"hybridism\" etc. Our guiding question was, therefore: in the production conditions that were formulated, to what degree and in what way the inside-outside relations, which should necessarily function under the notion of \"mix\", are determined, in the musical productions of interest, by the workings of a \"local\" vs \"foreign\" dichotomy, characteristic of the very formation of Latin American cultures? As the nature of the object itself did not adopt conclusions about predomains, we developed a comparative study of two cases, in search of discursive regularities: the bands Bersuit Vergarabat (Argentina) and Chico Science & Nação Zumbi/Nação Zumbi (Brasil). Our objective was, then, to investigate how the \"local\" and the \"foreign\" were discursively determined in their productions. For that, we analyzed a corpus of songs from each of the bands, besides other types of materials present in the aggrupations own albums, as well as interviews, reports and documentaries made with their members. We studied, at first, how the determination of \"local\" and \"foreign\" occurred in the construction of the creative/music making itself as an object of discourse, with special regard to the relation between such construction with genre or music traditions. By effecting said analytic approach, we also reach the observation that the thematizing of social inequity seemed to be decisive in the discursive determination of \"local\", in both of the cases studied. This observation brought us, then, to the articulation of a second angle of analysis through a conjunction of songs gathered in view of this issue. Generally, our work acquires a materialist perspective of discourse analysis, but also mobilizes concepts of other theoretic threads of approach to discourse and enunciation. The analysis performed focused, fundamentally: the enunciative scenography, especially in regard to the correlation between instances of person and places of speaking; and the constitution of discursive objects, seeking to constantly reflect on the textualization of interdiscourse and approaching mechanisms like the coreferential chain, the constructions related to the contrast, the thematic roles, among other aspects of discursive materiality. Moreover, in regard to the songs, it was sought to also consider, in the interior of the analytic device, aspects of the musical and corporal (preformistic) materiality of the song.

Thesis (M.Mus.)--University of the Witwatersrand, Faculty of Humanities, Wits School of Arts, 2013.

In her study of the post-independence Zimbabwean music industry, Angela Impey notes that women now constitute a hidden yet sizeable force in the music industry (1992:17). The current study examines the socio-political, cultural and economic factors that have led to the significant increase in the number of female musicians in the post-independence Zimbabwean popular music industry. The study also seeks to bring to the fore the longstanding issue of the dynamics in the relationship between male and female musicians in the industry. Applying a feminist approach to the study of popular music, the current study seeks to shift the focus of research from the presentation of women as victims in the industry to that of celebrating the female successes in the popular music industry. Through a case study approach the study sets out to describe and analyse the careers of Sandra Ndebele and Edith Weutonga who have become successful in the once male dominated industry.

[pt] O trabalho compara concepções de música popular, nação e camadas populares desenvolvidas em dois períodos da música popular brasileira: o de meados dos anos 1960, em que se construiu a idéia de MPB, e o atual, caracterizado por sonoridades oriundas das periferias de grandes cidades, muitas vezes denominadas comunidades por seus habitantes. Partindo das categorias musicais de Mário de Andrade criadas na década de 1920, analiso o contexto de formação da MPB como um momento de desenvolvimento do populário, em que se propôs uma estética que expressasse musicalmente o Brasil. Em 67, a Tropicália, questionando os fundamentos do projeto nacional- popular, ensejou outra proposta de representação do país, ao reunir repertórios locais e globais. Contemplando mudanças nas interpretações sobre música popular, nação e camadas populares, contrasto a produção da MPB dos anos 60 com a obra mais recente de Chico Buarque, o Cd Carioca, de 2006, através de sua assimilação de ritmos e segmentos da cena musical brasileira contemporânea, especialmente o hip-hop, o manguebeat e os sons eletrônicos. / [en] This thesis compares conceptions of popular music, nation and popular layers developed in two periods of the Popular Brazilian Music(MPB): The one in the middles of the 60´s, in which the idea of MPB was built, and the current days, characterized by sonorities originating from the suburbs of big cities, so-called communities for his inhabitants. Leaving from the musical categories of Mário de Andrade created in the decade of 1920, I analyse the context of formation of the MPB like a moment of development of the populário, in which there was proposed an aesthetics that was representing musically Brazil. In 67, while questioning the bases of the popular-national project, the Tropicália provided with an opportunity for another proposal of representation of the country, while joining locals and globals repertoires. Contemplating the changes in conceptions of popular music, nation and popular layers, I contrast the MPB of the 60´s with the most recent production of Chico Buarque, the 2006-year-old Cd Carioca, through his relation with rhythms and segments of the musical Brazilian contemporary scene, specially the hip- hop, the manguebeat and the electronic sounds.

The physical sale of music and the effectiveness of traditional media are expected to continue to decline, challenging marketers to develop new methods to create awareness about music. Although music sales are declining, interest in music is healthy, and strongest amongst the American young adult market - between the ages 18-34. This marketing plan uses traditional and innovative techniques to capture the attention of the target market, which is more culturally diverse and technologically advanced than any previous demographic. / by James Rocco Amedeo. / Thesis (M.S.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

O trabalho aborda diversos aspectos do universo do entretenimento no Rio de Janeiro das décadas de 1920 e 1930 em sua articulação com a música e com os músicos populares. Seu fio condutor é a trajetória do compositor, instrumentista, arranjador e maestro Alfredo Vianna da Rocha Filho, o Pixinguinha, que atuou e colaborou nos diversos meios do entretenimento do Rio de Janeiro . O percurso é longo: dos cafés-concertos ao rádio, com uma longa pausa na indústria fonográfica. Parte-se do pressuposto que a música popular desempenhou papel mais que relevante naquele contexto. Das rodas de choro ao Palácio do Catete, do morro aos estúdios de gravação, ela esteve presente nos diversos espaços da cidade, revelando vários dos dilemas existentes no país naquele momento: moderna ou típica? negra ou branca? folclórica ou popular? Privilegiamos, como objeto de análise, a escuta do compositor, revelada em suas composições, interpretações e, sobretudo, em seus arranjos, os quais nos permitem escutar sua escuta, e desvendar os modos de inserção e barreiras encontrados pelo músico nesse universo em constante transformação. / This work approaches many aspects of the entertainment universe in Rio de Janeiro during the decades of the 1920s and 1930s, considering its articulation not only with the music but also with the popular musicians. The thread of this study is the personal trajectory of the composer, instrumentalist, arranger and conductor Alfredo Vianna da Rocha Filho ? Pixinguinha ?, who has taken part in many activities of the entertainment universe in Rio de Janeiro. The path is long: from the ?cafés-concerto? to the radio, with a long pause in the phonographic industry. As a point of departure, our study presupposes that the popular music has taken more than a relevant part in this context. From the ?rodas de choro? to the Catete?s Palace, from the ?morro? to the recording studios, popular music was noticed in many places of the town, revealing some of the dilemmas faced by the country in that period: modern or typical? black or white? folk or popular? The listening of the composer is here highlighted as our object of analysis, which can be revealed through Pixinguinha?s compositions, interpretations and above all through his arrangements, which allow us to listen to his listening, and to figure out the ways of insertion as well as the obstacles that the musician had to face up to in this universe subjected to constant transformations.