Spelling suggestions: "subject:"popular music."" "subject:"copular music.""
361 |
DJs, clubs and vinyl the cultural commodification and operational logics of contemporary commercial dance music in Sydney /Montano, Edward James. January 2007 (has links)
Thesis (PhD)--Macquarie University, Division of Humanities, Department of Contemporary Music Studies, 2007. / Bibliography: p. 291-313.
|
362 |
The color of music : race and the making of America's country music /Thomas, Rebecca Ann, January 2000 (has links)
Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves [269]-307). Also available on the Internet.
|
363 |
A qualitative inquiry into how romantic love has been portrayed by contemporary media and researchersGriffin, Stephanie A., January 2006 (has links)
Thesis (Ph. D.)--Ohio State University, 2006. / Title from first page of PDF file. Includes bibliographical references (p. 169-188).
|
364 |
Saudades de Arcoverde nostalgia and the performance of origin /Sharp, Daniel Benson, January 1900 (has links) (PDF)
Thesis (Ph. D.)--University of Texas at Austin, 2006. / Vita. Includes bibliographical references.
|
365 |
The sounds of red and blue America dissecting musical references to "red state" and "blue state" identity in print media during the 2004 presidental campaign /June-Friesen, Katy. January 2006 (has links)
Thesis (M.A.) University of Missouri-Columbia, 2006. / The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (June 26, 2007) Includes bibliographical references.
|
366 |
The color of music race and the making of America's country music /Thomas, Rebecca Ann, January 2000 (has links)
Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves [269]-307). Also available on the Internet.
|
367 |
Constructing musical spaces beyond technological Eden a participative initiative for musical interface development based in the Peruvian context /Lopez Ramirez-Gaston, Jose Ignacio. January 2008 (has links)
Thesis (Ph. D.)--University of California, San Diego, 2008. / Title from first page of PDF file (viewed Jan. 12, 2009). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 111-117.
|
368 |
A mulher malandra e a popular nas percepções de Ismael Silva e do jornal Correio da manhã (1930 - 1935) /Porto, Carla Lisboa. January 2008 (has links)
Orientador: Zelia Lopes da Silva / Banca: Adalberto de Paula Paranhos / Banca: Flávia Arlanch Martins de Oliveira / Resumo: Esta dissertação apresenta os elementos de representação de personagens femininos nos sambas de Ismael Silva, um dos compositores mais importantes da década de 1930. Em seus sambas, a malandragem, a liberdade e, sobretudo, as mulheres são temas recorrentes. As mulheres particularmente, sempre aparecem como a causa de seus problemas, ou como alguém que não é digna de confiança, além de volúvel, perdulária, infiel e "da orgia" (vida boêmia). Nesta pesquisa, pretende-se verificar, por meio das personagens femininas do compositor e das notícias publicadas nas páginas policiais do jornal Correio da Manhã, durante do período de 1930 a 1935, como as mulheres eram representadas e quais valores e práticas estão por trás dessa representação. / Abstract: This dissertation investigates the elements of representation of female characters in the Ismael Silva's sambas, one of the most important popular composers in the 1930's. The roguery way of life, the freedom and, overall, women are often in his sambas. Particularly women, appear like the reason of his problems or like someone who is not trustful, also voluble, wasteful and disloyal, which is part of a bohemian way of life. In this research we intend to verify, through the composer's female characters and in the notes published in the pages of police occurrences in the periodic Correio da Manhã, since 1930 until 1935, how the women were represented and what values are behind this representation. / Mestre
|
369 |
Na brincadeira, me perdi!: Zambê e outras práticas musicais no ambiente familiar de seu Geraldo Cosme, em Cabaceira-RNCosta, Jaildo Gurgel da 19 May 2011 (has links)
Made available in DSpace on 2015-05-14T12:52:23Z (GMT). No. of bitstreams: 1
arquivototal.pdf: 3344593 bytes, checksum: 983725d07839f885189c1050b7b44789 (MD5)
Previous issue date: 2011-05-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This paper presents the results from an ethnographic investigation about zambê and other
musical practices present in Sir Geraldo Cosme s family. The empirical field is located in the
community of Cabeceira, municipality of Tibau do Sul, in the state of Rio Grande do Norte.
In this town, economy is based on shrimp, sugar production and tourism. On the cultural
expressions area, manifestations like coco de roda and, mainly, zambê kind of group music
and dance, with responsorial singing and percussion accompaniment, originated from oral
tradition have been highlighted. This investigation aims to identify, analyze and discuss the
nowadays musical practices of the family studied. For that, it is considered that the local
sonorous scenery is tensioned by two different segments, however dialogical: oral tradition
and popular music, both organically interlinked and broadly communed, whether the
divulgation of the repertories from electronics in general or through the local musical
performances. The investigation process included bibliographical and documental research,
field research, focusing on participant observation of several performances situations, and also
covered analysis of photos, audio and video produced and lived on spot, as well as outside
there. However, it includes the analysis of oral history as one of the main tools to guide this
research. It was verified, through investigations, that in that place there is a significant and
diverse number of traditional (such as zambê) and popular (genres produced by media)
musical practices. It was also noticed that zambê dance attends basically to external demand,
through paid presentations, while popular music is lived internally, voluntarily, as a way of
entertainment. Before so many different musical genres present and shared in the same space,
by the same public, musicians and moments, it was concluded that the sonorous practices in
their different expressions, with uses and functions particularly defined, in the familiar
context studied, are capable to dialogue and present specificities of each musical practice. / O presente trabalho é resultante de uma investigação etnográfica sobre o zambê e demais
práticas musicais existentes no ambiente familiar de seu Geraldo Cosme. O campo empírico
situa-se na comunidade de Cabeceira, município de Tibau do Sul, no Rio Grande do Norte.
Nesta cidade, os destaques econômicos são a carcinicultura, a produção açucareira e o
turismo. No que se refere a expressões culturais, têm obtido destaque manifestações como o
coco de roda e, sobretudo, o zambê tipo de música e dança coletiva, com canto responsorial
e acompanhamento percussivo, pertencente à tradição oral. Esta investigação tem por objetivo
identificar, analisar e discutir os fazeres musicais, atuais, da família em questão. Para tanto,
considera-se que a paisagem sonora local é tensionada por dois segmentos distintos, porém
dialógicos: o da tradição oral e o da música popular, ambos organicamente interligados e
amplamente comungados, quer seja em forma de veiculação, desses repertórios, nos aparelhos
eletrônicos em geral ou através de performances musicais locais. O processo investigativo
contemplou pesquisa bibliográfica e documental, pesquisa de campo, com ênfase na
observação participante de diversas situações de performance, e abarcou também análises de
fotografias, de registros de áudio e vídeo produzidos e vivenciados in loco, tanto quanto fora
dele. Contudo, incluiu a análise da história oral como uma das principais ferramentas
norteadoras desta pesquisa. Verificou-se, através das investigações, que nesta localidade
existe um número expressivo e diverso de práticas musicais de cunho tradicional (a exemplo
do zambê) e popular (gêneros midiatizados em geral). Percebeu-se ainda que a dança do
zambê atende basicamente à demanda externa, através de apresentações pagas, enquanto que
a música popular é vivenciada internamente, voluntariamente, como forma de entretenimento.
Diante de tantos gêneros musicais distintos, presentes e partilhados, num mesmo espaço, pelo
mesmo público, músicos e momentos, conclui-se que as práticas sonoras em suas diferentes
expressões, com usos e funções particularmente definidos, no contexto familiar em questão,
são capazes de dialogar e apresentar especificidades de cada fazer musical.
|
370 |
Modern Latin American Repertoire For Classical Saxophone: A Recording Project and Performance GuideJanuary 2011 (has links)
abstract: During the twentieth-century, the dual influence of nationalism and modernism in the eclectic music from Latin America promoted an idiosyncratic style which naturally combined traditional themes, popular genres and secular music. The saxophone, commonly used as a popular instrument, started to develop a prominent role in Latin American classical music beginning in 1970. The lack of exposure and distribution of the Latin American repertoire has created a general perception that composers are not interested in the instrument, and that Latin American repertoire for classical saxophone is minimal. However, there are more than 1100 works originally written for saxophone in the region, and the amount continues to grow. This Modern Latin American Repertoire for Classical Saxophone: Recording Project and Performance Guide document establishes and exhibits seven works by seven representative Latin American composers.The recording includes works by Carlos Gonzalo Guzman (Colombia), Ricardo Tacuchian (Brazil), Roque Cordero (Panama), Luis Naón (Argentina), Andrés Alén-Rodriguez (Cuba), Alejandro César Morales (Mexico) and Jose-Luis Maúrtua (Peru), featuring a range of works for solo alto saxophone to alto saxophone with piano, alto saxophone with vibraphone, and tenor saxophone with electronic tape; thus forming an important selection of Latin American repertoire. Complete recorded performances of all seven pieces are supplemented by biographical, historical, and performance practice suggestions. The result is a written and audio guide to some of the most important pieces composed for classical saxophone in Latin America, with an emphasis on fostering interest in, and research into, composers who have contributed in the development and creation of the instrument in Latin America. / Dissertation/Thesis / D.M.A. Music 2011
|
Page generated in 0.0564 seconds