Orientador: José Roberto Zan / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-26T14:58:27Z (GMT). No. of bitstreams: 1 Vicente_RodrigoAparecido_D.pdf: 3123932 bytes, checksum: f86d66df46900853b99ebd4269c3bc7f (MD5) Previous issue date: 2014 / Resumo: A década de 1950 é um dos momentos-chave da história da música popular brasileira. Nesse período, diferentes ramos da incipiente indústria cultural se modernizam e começam a se articular de modo mais orgânico. Além disso, recrudesce a segmentação da produção musical, formando-se audiências específicas para cada gênero e estilo em circulação nos principais meios de comunicação. É nesse contexto que surge o Trio Surdina, conjunto ligado num primeiro instante a um programa de rádio que tencionava reproduzir a sonoridade e o ambiente intimista das pequenas boates que então proliferavam na zona sul do Rio de Janeiro. Sua produção se insere na chamada era da "Alta Fidelidade" - tradução literal de High-Fidelity, mais conhecida pela abreviação Hi-Fi -, um momento marcado pela introdução de novos suportes, equipamentos e técnicas de gravação no âmbito da indústria fonográfica. A partir do estudo dos elementos e procedimentos constituintes das performances registradas nos LPs do Trio Surdina, este trabalho investiga em que medida a sonoridade do conjunto informa a existência de uma nova sensibilidade auditiva, de um novo "ouvido social" que se configura entre as décadas de 1940 e 1950, ligado no caso a uma fração da classe média que esteve no centro da vida sociocultural da zona sul carioca. Conforme indicam os discursos da época, certos agentes sociais estavam em busca de um tipo de música mais intimista, "moderna" e de "bom gosto", pautada pela economia de elementos, pelo tratamento "suave" e por uma "técnica aprimorada" de interpretação. A sonoridade concebida pelo Trio Surdina parecia corresponder a tais expectativas, destacando-se no segmento dos chamados "conjuntos de boîte". Em síntese, procurou-se compreender de que modo as obras musicais traduzem e condensam em suas estruturas experiências estéticas, sociais e históricas mais amplas. Nessa direção, destacou-se, ao mesmo tempo, o conteúdo propriamente original e específico da produção do Trio Surdina, isto é, aquilo que, nas músicas, escapa tanto aos padrões e convenções de estilo, quanto aos valores e juízos intrínsecos aos discursos do seu tempo, permanecendo em estado de potência como possibilidades expressivas elaboradas a partir da linguagem da música instrumental / Abstract: The 1950s are one of the key moments in the history of Brazilian popular music. At that time, different branches of the incipient cultural industry modernize and begin to articulate in a more organic way. Moreover, there is an increased segmentation of music production, emerging specific audiences for each style in the main media. It is in that context that is formed Trio Surdina, a musical group associated initially to a radio program that intended to reproduce the sonority and the atmosphere of small nightclubs which then proliferated in the southern area of Rio de Janeiro. The group¿s production is closely associated with an innovation of the recording industry at that time, the "High Fidelity", better known by the abbreviation "Hi-Fi". From the formal study of the Trio Surdina¿s work, this thesis investigates how the sonority of this musical group reflects a new "social listening", which seems to emerge between the 1940s and the 1950s linked to a fraction of the middle class that was in the center of social and cultural life of the southern area of Rio de Janeiro. As indicated by discourses of that time, certain social agents were looking for a kind of more intimate, "modern" and "tasteful" music, characterized by the economy of elements, "soft" treatment and a "refined technique" of interpretation. The sonority conceived by Trio Surdina seemed to correspond to such expectations, especially in the segment of the so-called "boîte groups." In short, this research aims to understand how the music of Trio Surdina translates and condenses into its structures aesthetics, social and historical experiences. At the same time, we emphasize the original and specific content of the production of Trio Surdina; in other words, the content that goes beyond the standards and stylistic conventions, as well as the intrinsic values and judgments to the discourses of that time, remaining as potential expressive possibilities elaborated from instrumental music¿s language / Doutorado / Música, Teoria, Criação e Prática / Doutor em Música

Orientador: Marcelo Siqueira Ridenti / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T22:54:00Z (GMT). No. of bitstreams: 1 Santos_DanielaVieirados_D.pdf: 3354844 bytes, checksum: 5569250103d9e4fb766d9284fade33d1 (MD5) Previous issue date: 2014 / Resumo: A cena musical da década de 1960 estruturou-se pelo aparecimento da chamada Música Popular Brasileira, MPB. Além de inovar do ponto de vista musical, ela apresentou projetos para modificar a nação, o que contribuiu para a elaboração de uma estrutura de sentimento nacional-popular. Dentre os compositores que se destacaram nessa cena, Chico Buarque e Caetano Veloso apresentaram expressiva notabilidade. A tese busca analisar, por meio de um viés sócio-histórico e materialista cultural, algumas canções desses compositores entre os anos 1960 e 1990 para desvelar as representações da nação que elas incorporam, bem como os projetos estético-ideológicos dos cancionistas. A hipótese principal que conduz o estudo é que a canção MPB como representativa de projetos nacionais tende a declinar a partir dos anos 1980, pautando-se na chave de uma nova estrutura de sentimento na qual a ideia de projeto transformador e coletivo não se encontra na agenda. Embora o sentido social das canções analisadas de Chico e Caetano apresentem aspectos divergentes, a matéria histórica cantada dos artistas perdeu o chão histórico para sintetizar problemas importantes da experiência contemporânea brasileira / Abstract: The Brazilian music scene of the 1960s had has structured by appearance of so-called Brazilian Popular Music - MPB. Besides innovating the musical language, the MPB presented progressist projects to modify the nation, which contributed to the development of national-popular structures of feeling. Among the composers who stood out in this scene, Chico Buarque and Caetano Veloso had a significant notability. The thesis aims to analyze ¿ through a socio-historical and cultural materialist approach ¿ some songs of these composers between the 60's and 90's to unveil the nation's representations that they embody, as well as their aesthetic and ideological projects. The main hypothesis leading the study recognizes the MPB songs as representative of national projects that tend to decline from the 80's. Furthermore, the MPB has been produced into a new structure of feeling in which the idea of social changes and collective project is not in the agenda. Although the social meaning of the songs analysed in the thesis presents different aspects, they have lost the historical ground to synthesize important problems of contemporary Brazilian experience / Doutorado / Sociologia / Doutora em Sociologia

Orientador: Renato José Pinto Ortiz / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-27T16:25:37Z (GMT). No. of bitstreams: 1 Leal_LuaFerreira_M.pdf: 1646864 bytes, checksum: 6547ce2b528081a4bbbbaff2377d032f (MD5) Previous issue date: 2015 / Resumo: O passado é ordenado mediante a definição de princípios de classificação e a atribuição de níveis de relevância dos fatos históricos. A música popular entre as décadas de 1960 e 1970 era objeto de reflexão na imprensa enquanto as pesquisas no âmbito universitário estavam voltadas para outros enfoques de interpretação da sociedade brasileira. Mesmo com a recente inserção da música popular nos debates de cientistas sociais e historiadores profissionais, a escrita da história efetuada por jornalistas ainda forma o núcleo dos "clássicos" da bibliografia sobre o tema. A fonte principal das referências sobre a música popular nos centros urbanos do Brasil pode ser encontrada em um conjunto de textos publicados desde o século XIX por memorialistas e cronistas. A partir da década de 1960, Ary Vasconcelos, José Ramos Tinhorão e Sérgio Cabral, devido à ampla circulação de seus textos e à dimensão de seus acervos com discos, documentos e objetos relacionados à história da música popular brasileira, conquistaram prestígio como "redescobridores" dos músicos do passado. A produção intelectual dos historiadores não acadêmicos ¿ em sua maioria, profissionais das redações de jornais e revistas ¿ pode ser analisada como diagnóstico das transformações sociais na segunda metade do século XX. Para os historiadores-jornalistas convertidos ao posto de pesquisadores da música, a alegada "autenticidade" do elemento popular confere os traços da identidade brasileira. Os textos de Ary Vasconcelos, José Ramos Tinhorão e Sérgio Cabral serão analisados para a compreensão da construção dos pilares do panteão da música popular brasileira entre a década de 1960 e o início da década de 1980. Na condição de defensores do "popular", os três autores conciliam a busca pela preservação da música com características tidas como nacionais e a repreensão aos desvios à "tradição", os quais ocorrem com a comercialização da cultura do "povo" brasileiro / Abstract: The past is ordered by the definition of classification principles and the assignment of levels of relevance of historical facts. Popular music in the 1960s and 1970s was an object of reflection in the press while research in the university was focused on other approaches to interpretation of Brazilian society. Despite the recent inclusion of popular music in discussions among social scientists and professional historians, the writing of history made by journalists still forms the core of the "classics" of literature on the theme. The main source of reference to popular music in urban centers in Brazil can be found in a set of texts published since the 19th century by witnesses and chroniclers. From the 1960s, Ary Vasconcelos, José Ramos Tinhorão and Sérgio Cabral ¿ given the wide circulation of their texts and the size of their collections of records, documents and objects related to the history of Brazilian popular music ¿ gained prestige as "rediscoverers" of the musicians of the past. The intellectual production of non-academic historians (mostly newspapers and magazines newsrooms professionals) may be taken as a diagnosis of social changes in the second half of the 20th century. For these journalist-historians converted to the position of music researchers, the alleged "authenticity" of the popular element conveys the Brazilian identity. The writings of Ary Vasconcelos, José Ramos Tinhorão and Ségio Cabral are analyzed in order to understand the building of the Brazilian popular music pantheon pillars between the 1960s and the early 1980s. In the condition of guardians of "the popular", the three authors concile the pursuit for preserving the music characterized as national and reprehending of deviations to the "tradition", defined as commercialization of the brazilian "popular" culture / Mestrado / Sociologia / Mestre em Sociologia

Orientador: José Roberto Zan / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T18:13:44Z (GMT). No. of bitstreams: 1 Freire_GuilhermeAraujo_M.pdf: 3785916 bytes, checksum: 7074b9f4c38144853c89de9e6f856bab (MD5) Previous issue date: 2015 / Resumo: Este trabalho aborda e problematiza as diferentes fases da carreira artística do compositor e intérprete Tom Zé, situadas entre o lançamento do seu primeiro LP em 1968 e o final da década de 1990. Estabelecendo como foco central sua produção musical, concebida com uma postura crítica frente a certos cânones e padrões da canção de massa consolidados no mercado e com práticas criativas experimentais análogas às do repertório das vanguardas do pós-guerra, investigamos a relação tensa estabelecida entre o seu projeto estético experimental e a indústria cultural. Nesse sentido, a pesquisa tentou situar os discursos e quatro discos de Tom Zé nos respectivos contextos históricos e configurações da indústria fonográfica, buscando compreender melhor as especificidades de sua inserção no mercado de música popular, suas estratégias de atuação, o sentido de suas opções estéticas, bem como investigar as transformações ocorridas no seu projeto estético ao longo de sua trajetória / Abstract: This work broaches and problematizes the different phases of the artistic career of the composer and performer Tom Zé, located between the release of his first LP in 1968 and the late 1990¿s. Establishing as central focus his music production, conceived with a critical posture towards certain canons and mass song patterns consolidated in the market and with experimental creative practices analogous to the repertoire of the postwar avant-garde, we investigated the tense relationship established between his experimental aesthetic project and the cultural industry. In this sense, the research tried to position the discourses and four discs of Tom Zé in the respective historical contexts and configurations of the phonographic industry, seeking to better understand the specifics of his insertion in the popular music market, his acting strategies, the sense of his aesthetical options, as well to investigate the transformations occurred in his aesthetical project throughout his career / Mestrado / Música, Teoria, Criação e Prática / Mestre em Música

English progressive rock band Gentle Giant is catalogued under the progressive (or “prog”) rock genre for a variety reasons, including unique instrumentation, virtuosity, and interesting/unconventional musical attributes. The complexity of their music is often warranted by the sophisticated concepts behind their albums and the deep messages of their songs. The Power and the Glory (TPatG), Gentle Giant’s sixth studio album, is a concept album that emphasizes the rise and corruption of power. What makes their music, especially TPatG, worthy of scholarly attention beyond the simple examination of the compositional techniques employed is the way in which the message of their compositions is conveyed, and how that message is interpreted. In this project, I investigate the elements that contribute to this album’s theme via semiotic analysis. I begin by exploring the discipline of semiotics as a method for analysis. Largely applied to language and literature, semiotic analysis has been recently adapted and applied to music study. Jean Molino’s method proposes a tripartite model for the analysis of music: analyses at poietic, neutral, and esthesic levels. A poietic level analysis examines the circumstances of the music’s creation, including origination, composition, production, and performance. Situating Gentle Giant among their contemporaries and TPatG among the band’s discography by outlining their history (both personal and professional) illuminates the conditions under which the album was generated and produced. An analysis of the neutral level defines the musical “trace,” or those quantifiable elements of the music (i.e., objective elements such as pitch, rhythm, etc.). These structures are explained in light of their usage throughout history and their impact on the album’s overarching theme of the corruption of power. An esthesic analysis describes the reception and interpretation of the music. I examine the socio-cultural impact the album has made and the influence it has had on musicians throughout the years. Molino’s tripartite method of analysis supports a comprehensive understanding of Gentle Giant’s TPatG, not solely musically by examining its structures, but socio-culturally as a part of the progressive-rock culture and, indeed, the broader music industry of the 1970s.

The purpose of this project is to understand how it is that women become electronic/dance music (E/DM) DJs and intervene in the dominant discourses and practices of cultural production in E/DM and DJ culture. The three main areas I address are: the impact of the socialization of gender and technology relations, the various ways that women use the Internet to access knowledge and create supportive communities, and finally, the hegemonic representation of women in dominant E/DM culture and how this representation has led to women creating their own communities of practice. I take a cultural studies approach to understanding the communicative strategies women adopt to become DJs. Adopting this methodology requires an examination of the relationships between people, places, practices, and texts. Such an interdisciplinary approach also necessitates drawing on literature from various "studies" areas, including cultural studies, popular music, women's studies, technology, and cyber culture studies. The result is a group of interconnected case studies linked by the ways that each of them addresses distinct aspects related to my central question of how women become DJs. It is clear from my research that the increased integration of women in E/DM is the result of women building face-to-face social networks and creating their own communitiesboth on and offline. In the spirit of the Women's Music movement that started in the 1970s and Riot Grrrl culture in the early 1990s, women in E/DM are increasingly taking on the roles of bookings agents, event planners and promoters, website developers, listserv managers, DJs, producers, and record label owners. Online forums are used to organize offline events like monthly potlucks and public performances, in addition to providing spaces where women can ask questions or share knowledge about all things DJ related. Overall, this project highlights the ways that cultural assumptions, discursive and material practices affect the roles that men and women adopt in E/DM culture.

The purpose of this investigation was to examine a single modern band to discover how an ensemble director/facilitator implemented peer mentoring and other student-centered pedagogical approaches. Observations of an urban high school modern band were conducted over the course of five months of rehearsals with a summative performance. Participants included 12 high school students, one primary educator, and one student teacher. Qualitative data were collected through artifacts and observations as well as group, individual student, and individual teacher interviews. Data were coded and analyzed, revealing emergent themes. The facilitator encouraged students to share their knowledge, opinions, and suggestions for direction through peer mentoring. Students in the ensemble claimed there existed significant social aspects of participation and found interactions within to be a formative part of their school experience. Findings include substantial engagement in peer mentoring, social bonding through modern band, and the sharing of knowledge between students in a relaxed atmosphere in which student agency, autonomy, and democratic decision-making were key tenets. Data analysis revealed musical and social benefits with a facilitator who championed student-centered pedagogy within a relaxed environment. Modeling was found to be a key tenet of learning and communication and critique between peers were more easily understood and better received as compared to that from their facilitator. Peer mentoring opportunities seemed to be reliant upon music that was familiar to students presented in a manner that left room for subjective interpretation and reliance upon peers’ understanding. Peer mentoring was also identified as a definitive component of modern band instruction in addition to its benefit within the ensemble for students musically and socially. Pedagogical suggestions for music education include increased autonomy and student agency in all classrooms; the provision of pathways for teachers to develop facilitation and peer mentoring skills; frequent opportunities for performance; careful consideration of student proximity for peer mentoring; and finding balance between traditional and nonformal teaching methods. Other implications for the profession include implementation of facilitation in all ensembles; careful repertoire decision-making; the development of student leaders; avoiding false representations of popular music ensembles; and encouragement of socializing in modern band ensembles.

This study explores the perceptions of fifteen students from the University of Pretoria’s School of the Arts about the feminist themes in Beyoncé’s music. Beyoncé is a self-proclaimed feminist who advocates for women through her music. An extensive literature review reveals how she can be considered a feminist icon within the popular music genre by considering the development of feminism, feminist theories and themes, and popular music as a locus of social change in popular culture. This feminist case study followed a qualitative research approach within an interpretivist framework. The music videos considered for the study were “If I Were a Boy” (2008), “Diva” (2009), “Run the World (Girls)” (2011), “Pretty Hurts” (2013), “Flawless” (2014) and “Grown Woman” (2014). The data was collected from semi-structured interviews and was analysed using reflexive thematic analysis. The themes revealed that these South African students perceived the feminist themes in Beyoncé’s music as empowering and relatable, but sometimes directed towards the male gaze. / Dissertation (MMus (Performing Art))--University of Pretoria, 2020. / Music / MMus (Performing Art) / Unrestricted

Sometimes students struggle to interpret literary texts because some of these texts do not lend themselves to the deduction of the interpretative processes with which they are familiar, but the same is not true when students pull interpretations from songs. Is it possible that students’ familiarity with songs might enable them to connect a song with a book and aid interpretation that way? This study attempted to explore the possibility of bridging songs to literary texts in my Community College English classroom, to ascertain if or how the use of song can support or extend students’ interpretive strategies across different types of texts. I investigated how songs might work as a bridge to other texts, like novels, and, if the students use songs as texts, to what extent do the students develop and hone their interpretative skills? Because of this, how might including songs as texts in English writing or English Literature curriculum contribute to the enhancement of students’ writing? The students’ responses disclosed that the songs appealed to their cognition and memories and helped them to interpret and write about the novels they read. Moreover, the students’ responses revealed that pairing or matching songs with novels strengthened interpretation of the book in a plethora of ways, such as meta-message deduction, applying contexts, applying comparisons, and examining thematic correlations. When a novel is bridged or paired with a song, interpretation can also be derived by examining different perspectives, characterizations, personal connections, and life experiences. Exploring emotional connections as well as signs and symbolism can also enable interpretation. Another way to deduce interpretation, according to the students, is to locate a reoccurring issue or thread in a song and transfer the analysis from the song to the novel. However, although a few students might not use songs to interpret literary texts, they might still be able to recognize that the possibility exists to grasp meaning that way.

Cette thèse se propose d’analyser les processus de représentation de l’identité culturelle britannique en prenant comme objet d’étude une sélection des productions musicales du musicien anglais Damon Albarn. Avec le groupe Blur, Albarn émerge sur la scène britannique dans les années 1990. Le groupe est l’un des fers de lance du mouvement Britpop qui se caractérise par une imagerie et un propos associés à l’identité britannique. Cette dernière est symbolisée par la grande majorité des groupes du mouvement qui sont anglais, blancs, masculins et appartiennent au paradigme pop/rock.Cette thèse s’intéresse à l’évolution des représentations de l’identité dans la musique d’Albarn à partir des années 2000 et jusqu’aux Jeux Olympiques de Londres en 2012, dans un contexte marqué par la remise en cause du modèle multiculturaliste, la poursuite de l’élargissement de l’Union Européenne et le début des discussions sur un référendum portant sur l’éventuelle indépendance de l’Écosse. Cette période se caractérise également par une diversification des genres musicaux abordés dans les projets d’Albarn qui s’éloigne lui-même du discours identitaire exclusif de la Britpop. La thèse propose une analyse critique des productions d’Albarn qui opèrent ce glissement d’une identité Britpop exclusive à une identité inclusive et multiculturelle. Ce faisant, le travail permettra de dégager la spécificité de la musique, conçue comme un espace d’observation et d’élaboration d’une identité culturelle britannique en perpétuelle mutation. / This study analyses representations of British cultural identity in Damon Albarn's music. Albarn became a household name with Blur, an English band that was associated with the Britpop movement in the 1990s. Britpop openly articulated popular music and the question of Britishness which was defined in exclusive terms as most Britpop artists were white, male, guitar-based, English bands.By focusing on Albarn’s various musical projects after the end of Britpop, the aim is to understand how its aesthetics and politics are de-constructed. At the turn of the century, Albarn distanced himself with the exclusive rhetoric of Britpop as he started to express a more inclusive, multicultural understanding of British identity. Through three different case studies, it is contended that Albarn’s understanding of British cultural identity is predicated on specific music genres and their own sets of discourse. The study spans over a period of twelve years marked by a renewed interest in Britishness as the multicultural model in British politics is questioned, new countries join the European Union and more devolution for Scotland is discussed. The last part of the study focuses on Albarn’s involvement in the Cultural Olympiad in 2012 and serves to show how music works as a medium that allows the articulation of contrasted, and at times, contradictory representations of British cultural identity.