This study focuses on the connection between cultural identity and Japanese popular music. It contains conducted interviews and semantic analyses on musicians who use Japanese traditional instruments and Western instruments in their repertoire. It uses performativity theory as theoretical framework. The analyses are divided in to the three levels of Sauter’s phenomenological path: the symbolic level, the sensory level and the artistic level.  It concludes how musicians in Japan perceive their own musical identity, and gives insights on the role of cultural identity in Japanese music. The potential significance is to contribute to identity studies using a performativity perspective as explained above, and thereby elucidating both musicological and historical aspects.

Online fandom communities exist as a hub of subcultural construction for people across the globe. For queer people, fandom represents a space to safely converge over mutual interests. Previous research has focused on queer fans and popular music fans independently, often taking a pathological approach. This study qualitatively examines queer participants in the Katy Perry fandom through surveys and one-on-one interviews. The theoretical backbone of the study is built around uses and gratifications theory, seeking to understand motivations for fandom participation. The concepts of the heteronormative matrix and queer resistance are additionally incorporated to analyze how LGBTQ+ fans combat societal norms. This research found seven motivations for queer fans to participate in online fandom, providing insight into an understudied community.

Um den Inhalt von Musik ausfindig zu machen, spielt ihre Gattungszugehörigkeit eine große Rolle. Dieses Gebiet ist in der Musikwissenschaft jedoch weniger erforscht als z. B. die Harmonie- oder Formenlehre. Von Interesse scheinen mir dabei insbesondere die Gattungen der Unterhaltungsmusik (Lieder, Tänze, Märsche) und verwandte Bereiche zu sein.

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Films which are not musicals – non-musical films – sometimes include songs which are narratively motivated yet in a different way from how they are used in musicals. They may be part of the underscore or even performed by characters in the films, and add a new element to films which otherwise do not use music in this way. In this thesis I will explain how musical and non-musical films differ in their use of songs and explore various aspects of composing songs for three non-musical films made by students at the Stockholm University of the Arts. Important results include describing how to choose lyrics for the songs and how this can add new perspectives to the scenes where the songs appear. I also explore the different challenges a composer can face during the composition process and demystify the process itself by describing how the music for each film is composed. / <p>Film och bilder: <em>Love Off Beat</em>. Alexandra Dahlström, regissör. Majaq Julén, foto. Alexander Linder, klipp. Petar Mrdjen, ljud. Knut Olav Rygnestad, musik. Stockholms konstnärliga högskola, 2022.</p><p>Film och bilder: <em>Lagom svensk</em>. Jamil Walli, regissör. Amanda Muysio, foto. Jomana Walli, klipp. Sam Soliman, ljud. Knut Olav Rygnestad och Petar Mrdjen, musik. Stockholms konstnärliga högskola, 2022.</p><p>Film och bilder: <em>Järnridån</em>. Alexandra Dahlström, regissör. Majaq Julén, foto. Alexander Linder, klipp. Petar Mrdjen, ljud. Knut Olav Rygnestad, musik. Stockholms konstnärliga högskola, 2023.</p>

A research report submitted in partial fulfilment of the requirements for the degree of Master of Arts (Sociology) / Can there ever be a space for radical Black performativity, by which I mean, a type of Black performance that is a challenge to, and not just a reiteration of (including in others’ enjoyment of it) the anti-Blackness of the world? This project – film and conceptual essay - investigates the limits and boundaries of this question and it does so through kwaito: a uniquely South African post 1994 musical and cultural phenomenon that is specifically born from the experiences of township life and of Blackness in South Africa. It does so as a way to think about the validity of the proposition put forward by Black Studies (mainly in Afro-pessimism) that violence in the modern world underwrites the Black person’s capacity to think, act, and exist spatially and temporally, this is in opposition, say, to Fred Moten’s Black Optimism, that holds that ‘objects’, that is to say Blacks, can and do resist and they do so through performance. This project then enters the debate in Black Studies through a questioning of the ‘authenticity’ of Black radical performativity and cultural practices and it reads kwaito as a Black cultural performative practice that is a form of fugitivity. This paper looks at some of the more hopeful, humanistic interpretations of Black aesthetics and proposes as a challenge that we rather think about and read kwaito as something close to a deranged apocalyptic response to anti-Blackness, that does not offer answers, and is a movement that operates as a form of fugitivity that unveils the quotidian and banal subjectivity of Black township life in South Africa post 1994. / NG (2020)

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