The panel discussion first focuses on the obvious gap between a relatively optimistic perspective on musical globalisation, mainly in view of non-Western popular musics, as a main trend in today’s ethnomusicology and the description of intercultural musical encounter as a difficult, lengthy and self-challenging process as suggested by Hans Zender and most examples from contemporary art music. Gerd Grupe emphasizes that non-Western popular musics include both forms that even out cultural differences by following Western commercial standards and, contrarily, forms that are highly dependent on local lingual or musical codes and thus cannot be transferred to an international realm. To illustrate the »existential« approach of art music composers, Zender quotes the case of Giacinto Scelsi whose music has received a profound influence from Tibetan music. Zender emphasizes that Scelsi has created – after a long period of crisis – a »Third Way« that can be understood from neither a purely European, nor a purely Tibetan perspective. The discussion then centres on the question of which influence Western concepts of history and the dynamics of »progress« have exerted on different traditional and contemporary forms of the world’s musics and to what extent the post-colonial polarisation of a »dynamic« Western culture and »static« non-Western cultures is still virulent in the discussion of these musics today. While Christian Utz emphasizes that many non-Western traditions that were deemed to have been preserved unchanged for many centuries for example the Japanese court music gagaku – have in fact changed considerably over the centuries and have been highly influenced by political and social changes, Peter Revers traces the idea of »making history« back to Friedrich Schlegel and describes it as very influential on the dynamics of Western music history. Andreas Dorschel raises the question, if early 20th century »national« schools and in particular the music of Béla Bartók and Leoš Janá􀃿ek can be seen as forerunners of trends in non-Western contemporary music that accentuate cultural difference. Christian Utz remarks that despite the fact that the music of Bartók has been a very important model for Asian composers in the process of creating a music independent of Romanticist symphonic clichés, elements of (neo-)nationalism in Bartók’s concept of music make it hard to see it as a model for a new music free of nationalist bias. Responding to a question from the audience, Andreas Dorschel summarizes that turning to music or art of other cultures might indeed be a signal for »weak« moments within a culture, but in turn this »weakness« proves the inner strength to challenge one’s own culture’s fundamental principles whereas discrimination and xenophobia are based on a very different kind of inner weakness where one is merely unable or unwilling to confront the Other.

This thesis explores the potential of Nigerian popular music as an approach to nation branding. The study employs qualitative content analysis to analyze select Nigerian music genres to examine how Nigeria is portrayed to international audiences and the economic benefits that can be derived from this form of branding. The analysis focuses on narrative themes of “the value of hard work,” “ethnic pride,” “lavish lifestyle,” and the impact of differences which were derived from the data. Findings indicate that Nigeria is globally reckoned for its musical prowess and rich cultural heritage. In highlighting the role of music in Nigeria’s political processes, the research demonstrates a growing sense of national identity and political awareness among the masses, thereby making a case for accountability and transparency in Nigeria’s governance. Additionally, music emerges as one of the major contributors to Nigeria’s economy, serving as a powerful tool for visibility and attracting foreign investments.

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Denna studie undersöker trumslagaren Aaron Spears (1976–2023) trumfill utifrån placering, utformning och mikrorytmisk tajming på Ariana Grandes livealbum K bye for now (swt live) (2019). Placeringen av trumfillen på liveinspelningarna jämfördes med motsvarande studioversioner av respektive låt. Resultatet visar att liveinspelningarna innehåller fler trumfill än studioinspelningarna, medan placeringen av trumfill vid övergångar mellan olika delar i arrangemangen bibehålls. Materialet analyserades genom en kombination av lyssnande och digitala hjälpmedel där främst datorprogrammen Logic Pro och FL Studio användes. Utifrån analysen identifieras fem tekniker för trumfill på mikrorytmnivå: 1) försenad backbeat, 2) skiftande swingförhållanden, 3) ambivalenta slag, 4) flams och 5) rytmisk exakthet. Resultaten korrelerar med tidigare forskning om mikrorytmiska tekniker i trumkomp och visar hur dessa tekniker används vid trumfill och hur backingtrack integreras utifrån ett mikrorytmiskt perspektiv.

This dissertation seeks to explore how the exercise of political power and the music industry impacted each other in South Africa under apartheid during the 1980s. It does so by looking firstly at the ways in which the South African government used music to promote apartheid. Secondly, it looks at the role of South African popular musicians in the struggle against apartheid in the country, specifically their role in civil society and the methods they employed to fight apartheid while avoiding censorship. It looks at key musical developments of the decade and explores their political implications, focusing on three popular genres: bubblegum (or disco), crossover and reggae. Thirdly, it explores the role of South African music and musicians in the struggle against apartheid outside South Africa. Finally, it looks at the role of music in the international anti-apartheid movement and the contribution of the international music community to the struggle. / Political Sciences / M.A. (African Politics)

This dissertation seeks to explore how the exercise of political power and the music industry impacted each other in South Africa under apartheid during the 1980s. It does so by looking firstly at the ways in which the South African government used music to promote apartheid. Secondly, it looks at the role of South African popular musicians in the struggle against apartheid in the country, specifically their role in civil society and the methods they employed to fight apartheid while avoiding censorship. It looks at key musical developments of the decade and explores their political implications, focusing on three popular genres: bubblegum (or disco), crossover and reggae. Thirdly, it explores the role of South African music and musicians in the struggle against apartheid outside South Africa. Finally, it looks at the role of music in the international anti-apartheid movement and the contribution of the international music community to the struggle. / Political Sciences / M.A. (African Politics)

Text in English with abstracts in English, isiZulu and Xhosa / Page numbering of table of contents inconsistent with dissertation. Appendix A : Full transcription only of Tip toe by Lacey May / What is it about the vocal melodies of popular music that make you want to listen again and again? This music-theoretical study applies principles of Gestalt psychology and theories of expectation to a study of melodic hooks in 21st-century popular music. The hypothesis tested here is that melodic hooks are a vital element in “catchiness”. Transcription and analysis of melodies by major recording artists is used to explore the note-to-note basis for melodic hooks. The analysis of recordings by Adele, Carly Rae Jepsen, Pharrell Williams and Robin Thicke shows how factors of repetition, familiarity, simplicity, resolution, ambiguity of key, and expectation all contribute to the sense of catchiness in music. A listener-response study was used to test the experience of catchiness in the case studies, and corroborates the hypothesis that catchiness depends principally on expectation as an overarching factor. The study also uses auto-ethnographic reflection on the practice of song-writing to give insight into strategies for creating catchy popular songs. The experience of composing a pop song, and releasing it on air, provides unique insight into the artistic process. The results of all these studies show that the perceptual principle of expectation is a crucial factor in the experience of catchiness. / Ingabe yini eyenza iminkenenezo yomculo odumile ikukhange futhi ikuhehe ufise ukuwulalela kaninginingi? Lolu cwaningo lwethiyori yomculo lusebenzisa imigomo ye-Gestalt psychology kanye namathiyori alokho okulindelekile (theories of expectation) ukucubungula nokuhlaziya amavesi eminkenenezo emnandi futhi ekhangayo yomculo odumile wekhulunyaka lama-21. Ihayiphothesisi ehlolwayo lapha wukuthi amavesi eminkenenezo emnandi futhi ekhangayo ayingxenye esemqoka kakhulu “ekukhangeni” komculo. Ukubhalwa nokuhlaziywa kweminkenenezo yabaculi abayizikhondlakhondla abaqopha umculo kuyasetshenziswa kulolu cwaningo ukucubungula inothi nenothi levesi lomnkenenezo omnandi futhi okhangayo. Ukuhlaziywa komculo oqoshiwe ka-Adele, Carly Rae Jepsen, Pharrell Williams kanye no-Robin Thicke kuyabonisa ukuthi izinto ezinjengokuphindaphinda, ukujwayeleka komculo othile, ubulula bomculo, ukuguquka kwenothi lomculo libe ngumnkenenezo ohlabahlosile (resolution), ukungaqondakali nokungaqiniseki ngokhiye womculo (ambiguity of key), kanye nalokho okulindelekile, konke kuyizinto ezilekelelayo futhi ezifaka isandla ekukhangeni komnkenenezo womculo. Ucwaningo lwendlela abazizwa ngayo abalaleli bomculo lwasetshenziswa ukuhlola ukuthi bakhangekile yini labo balaleli bomculo, kwizincwaningo-zigameko zokulalelwa komculo, futhi lolu cwaningo lwasekela lwaphinda lwaqinisekisa ihayiphothesisi ethi ukukhanga komnkenenezo womculo kuncike ikakhulukazi kulokho okulindelwe ngumlaleli womculo njengombandela-ngqangi wokuheheka nokukhangeka kwakhe. Ucwaningo lusebenzisa futhi nokuzibandakanya komcwaningi (auto-ethnographic reflection) enqubweni yokubhalwa kwamaculo ukuze athole ulwazi olunzulu futhi aqondisise kahle amaqhingasu okuqamba izingoma ezidumile ezinomnkenenezo omnandi futhi okhangayo. Ukuzibandakanya enqubweni yokuqamba ingoma yomculo we-pop, kanye nokuyikhipha ukuze idlalwe emisakazweni, kuhlinzeka ngethuba eliyingqayizivele lokuqonda ngokujulile inqubo yokwenza umculo. Imiphumela yazo zonke lezi zincwaningo iyabonisa ukuthi umgomo wendlela-kuhumusha izinto ngokwalokho okulindelekile wumgomo osemqoka kakhulu ekufikelweni komuntu ngumuzwa wokukhangwa nokuhehwa ngumnkenenezo. / Zingantoni izandi ezimnandi zokuvuma ezivakalayo zomculo odumileyo okubangela ufune ukuwuphulaphula njalo njalo? Olu phononongo lomculo ngokwenkcazelo eyingcingane lusebenzisa imigaqo-siseko yemeko yengqondo iGestalt (Gestalt psychology) kunye neengcingane (theories) zokulindelweyo kufundo lwezandi ezinomtsalane okubambayo kumculo wenkulungwane yama-21 Ulwazi oluyingcamango engenabungqina oluhlolwe apha kukuba izandi ezimnandi zokuvuma ingoma ziyinto ebalulekileyo "ekubambeni lula". Ukubhalwa kunye nohlalutyo lweengoma ezenziwa ngabaculi abaphambili bokushicilela kusetyenziselwa ukuphonononga isiseko senowuthi ukusuka kwenye ukuya kwenye inowuthi ngokwezibambo zokuvakala kwezandi. Uhlalutyo lokushicilela luka-Adele, Carly Rae Jepsen, Pharrell Williams kunye noRobin Thicke kubonisa indlela izinto eziphindaphindwayo, zokuqheleka, zobulula, ukusombulula, nobumbolombini kwikhi kunye nokulindelweyo konke kunegalelo kumba wokutsalwa ubanmbeke emculweni. Uphononongo lokusabela komphulaphuli lwasetyenziswa ukuvavanya amava okufumana ifuthe lomtsalane kwizifundo zabucala, kwaye zihambelana nengcinga yokuba ukubamba kuxhomekeka ikakhulu kulindelo njengeyona nto iphambili. Olu phononongo lukwasebenzisa imbonakalo ezenzekelayo kwinkcazo yenzululwazi ngeentlanga kumsebenzi wokubhalwa kwengoma ukunika ukuqonda ngeendlela zokuyila ingoma ezimnandi ezidumileyo. Amava okuqamba ingoma ye-pop, kunye nokuyikhupha emoyeni, inika ingqiqo eyahlukileyo kwinkqubo yobugcisa. Iziphumo zazo zonke ezi zifundo zibonisa ukuba umgaqo-siseko wengcingane yokulindelweyo luphawu olubalulekileyo kakhulu kumava okubamba. / Art History, Visual Arts and Musicology / M. Mus. (Musicology)

published_or_final_version / Chinese Historical Studies / Master / Master of Arts

本研究以Csikszentmihalyi「創造力系統模式」個人、守門及領域三角模式觀點為指引，針對2000年至2008年產製最多Top 5 K歌作詞者、作曲者與唱片製作人進行深度訪談，歸納出台灣K歌產製框架。研究目的包括：第一、以框架理論觀點作質性分析，歸納K歌產製流程的框架作用與框架化產製元素；第二、藉由本研究解構K歌產製模式，提供台灣流行音樂產業未來產製省思。 本研究發現K歌產製者之核心能力，初期是透過「臨摹」領域成功作品習得，日後個人會將「臨摹」加以變形或延伸。「臨摹」建構個人對領域的認知，「臨摹變形」則是基於個人創作習癖，兩者結合形成個人創作風格。 領域框架個人創作有以下兩種形式：第一、K歌為高度約定俗成的文本格式，個人同意於「結構框架」之下進行產製；第二、K歌產製者選擇創作主題時，受到閱聽人「感情經驗」召喚，以悲傷情歌為主要類型。個人並非純然的創作者，K歌為個人與閱聽人進行之「集體創作」。K歌作曲者為了達到領域要求，從事創作時採用「慣例」造成冗贅性，增進文本的溝通效果。本研究對象最常用之「慣例」，有以下幾種：1、hook(反覆樂句)手法；2、古典音樂理論作曲法；3、慣用和弦。 由於本研究對象為領域中最具代表性的K歌產製者，守門與個人互動方式並非傳統篩選作品模式，而是雙方採取合作方式，共同為表演者「量身訂作」文本。本研究亦發現，領域中較高地位之「大牌K歌產製者」，具有統合個人與守門角色的權限，少了守門干預的個人作為，可以破除既有格式，自由地使用創意元素於新專輯之中。此外，網路科技降低了出版門檻，衝撞傳統K歌產製系統模式。過去被排除於領域之外的獨立音樂產製者，跳脫出「K歌產製創造力系統模式」，尋求另類出路。個人風格導向之產製，加速了流行音樂領域的變遷。 / In this study, the Csikszentmihalyi "creativity system” model, a triangular relationship between individuals, field influences, and domain impacts, is used to understand qualitatively the Taiwanese Karaoke song production popularity and success in the years between 2000 to 2008. The composers, lyricists and producers interviewed produced the most top five karaoke songs during this time. The purpose of this study is first; to use the frame analysis qualitative research method to understand the framework and production elements of Taiwanese Karaoke and Music. Secondly; to provide a model or framework for future production and to offer information that could advise future productions. This study concluded that lyricists and composer’s core abilities were highly dependant upon what previously successful models were imitated. At first, it was often a matter of imitating successful models that preceded them. Later, as they developed they would transform or elaborate upon this imitation. Individual personalities building upon these imitation inspired works defined the domain. Transformation of the imitation into something new was based upon the habitus of each individual. The frame of the model and personal thought combine to become a personal style The frame affects the personal content in two ways. First, Karaoke is an already widely accepted format that is familiar to composers. Therefore this structure or frame is already an accepted format to create songs within. Secondly, lyricists choose content based upon the audiences experiences. The most commonly shared experience is often expressed in sad love songs. The lyricist and composer are not purist creators, as audience expectation and interaction forms a collective and collaborative relationship. In order to reach the domain requirements, composers will use rules to form redundancy in the music to improve the contents communicative efficiency to the audience. The three most popular rules used by the composers interviewed were: 1) The hook. 2) Classical music techniques. 3) The top seven most commonly used chords. Due to the nature of the group represented, the traditional gate keeper method of selecting individuals for work was most often set aside in favor of cooperative collaboration between the individuals, and the producers in selecting new content for the talent. This study also found that if the domain status is high the most popular composers and lyricists have the power to combine the rights of the gate keeper and the individual. Without the field or gatekeeper the individual can break-out of format models and freely use creative elements in their new productions. Moreover, internet technology opened the door for increased production and lowered the material requirements necessary to produce music. The caused a collision with traditional karaoke music production. Those independent music producers previously excluded from the domain now jump out of the Karaoke Production Creation System. They find alternate means to produce music and expose the audience to their work. Whoever’s personality or strong style stands out clearly will change the domain rapidly.

Modern conflict transformation emerged after World War II as a discipline and a field of academic research. Since the early 1990s it has increasingly concerned itself with psycho-social issues (e.g. trauma treatment or reconciliation) in the aftermath of violent protracted social conflicts. Within this psycho-social space there has been a growing interest in the use of music in conflict transformation to improve relationships between in and out-groups. However, the field of music and conflict transformation is still nascent, with little in-depth research available. The majority of studies have been undertaken by interested parties or relies on anecdotal evidence from organisers and musicians with little concern for the context of the music use. Participants, whose attitudes and relationships to out-groups are the focus of conflict transformation interventions, are largely overlooked and their views are rarely discussed. Furthermore, there are few detailed studies on exactly how music affects conflict transformation outcomes. Instead allusions are often made to terms such as “the power of music” which act as a black box intended to explain how music “works”, but patently fail to do so. This thesis attempts to fill these two gaps in the literature by focusing on the participants’ experiences in two different conflict transformation contexts, a multi- cultural music project for school children in Noway and the casual music use in a settlement of internally displaced persons in Sudan. Through qualitative research methods, rich descriptive data from different parties is gathered. The data is analysed using grounded theory. As a result a very different and more complex picture emerges that enriches the current understanding of how music is used and perceived in conflict transformation contexts. In particular, how participants view these activities and how power relationships, though rarely mentioned, affect the music use is explored in detail. Some tentative suggestions indicate that music works best when used in longitudinal bottom-up activities and that music can augment conflict transformation activities rather than replace them. Additionally, it is proposed that music may work as a form of benign interruption in conflict transformation activities and that musical events provide a liminal space where the real work lies in the process of bringing any changes in attitudes from the liminal space into everyday life.