The purpose of this study is to explore the role of the documentary film in the relationship between the artist and the fan; specifically how Bob Dylan fans use the documentary films Dont Look Back, directed by D.A. Pennebaker, and No Direction Home, directed by Martin Scorsese. Dylan, Pennebaker, and Scorsese are three important figures in American popular culture, and these are the two most prominent films about Dylan. These films discuss relatively the same time period, yet delineate two different versions of Dylan's identity. Dont Look Back, released in 1967, documents Dylan's 1965 tour of England. Because of Pennebaker's rhetorical placement and treatment of particular scenes, Dylan often comes across as mean and spiteful, lashing out at reporters and those around him. Scorsese's 2005 film combines archival footage with contemporary interviews to create a different picture of Dylan--- a picture of an artist who was mistreated and misinterpreted by the folk community, his fans, and the press. By conducting interviews with passionate Dylan fans, I concluded that these films demonstrate the rhetorical presentation of identity. Fans use the images found in these films to construct their identity of Dylan. The documentary film is unable to fully capture one's identity, but, as these films show, can only rhetorically construct the celebrity persona.

Making the Scene: An Investigation of the Rock and Roll Scenes of Nashville, Tennessee, and Athens, Georgia, takes a look at the ways in which both the identities of a music scene and the individuals taking part in that scene are created and maintained. Issues of identity are addressed by examining the roles performed by various members of the scene (musicians, soundmen, club owners, etc . . .), by focusing on the influence of landscape, and looking at the ways a scene’s members identify with the cultural region that surrounds their particular scene (in this case both scenes are located in the American South). Data for this thesis was gathered in two ways: through traditional, ethnographic interview with musicians from Athens, and Nashville, and from the author’s personal experience as a member of the Nashville rock Scene from 1990 to 2001. Secondary sources were also consulted. Having analyzed the data, the author concludes that the scene is a function of culture; it is created and sustained through personal interaction and cultural imagination—individuals create and sustain it. Once it is created, once it is constructed, and named, the scene has an affect on the individuals that come to take part in it. It helps to shape their identities. Individuals, however, continue to exert influence over the scene, constantly altering its character.

Zugl.: Jena, Univ., Diss., 2008

Submitted by Liliane Ferreira (ljuvencia30@gmail.com) on 2018-11-14T13:45:52Z No. of bitstreams: 2 Dissertação - Lucas Monteiro dos Santos - 2018.pdf: 3504501 bytes, checksum: 0d4c0230e5a5a9653bc0e517810747c3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-11-19T10:21:59Z (GMT) No. of bitstreams: 2 Dissertação - Lucas Monteiro dos Santos - 2018.pdf: 3504501 bytes, checksum: 0d4c0230e5a5a9653bc0e517810747c3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-19T10:22:00Z (GMT). No. of bitstreams: 2 Dissertação - Lucas Monteiro dos Santos - 2018.pdf: 3504501 bytes, checksum: 0d4c0230e5a5a9653bc0e517810747c3 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-10-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The following research talks about the rock and roll and phenomenons that contextualize with this theme, for example the use of the spaces for the fans e the ways of sociabilities that is possible to find in these spaces that the events happen. Talks about the historical processes of this musical style, fundamental piece for the comprehension, and about the moshpit too, corporal performance of the crowd that is completely associated with the experience to be in a rock and roll event. Field researches happened on Goiania, Goiás, and narratives were done about how these events happen and how the moshpit performance happen. The methodological path used was the cultural performance studies, that are coherent with the theme. It is possible to conclude that the ambience that rise when these events happen are full of liminarities and freedom, and all of this context ethic and aesthetical of rock and roll, moshpit and performance comes with a group of restored behaviors e a incorporated knowledge for the people that integrate the scenario and these ambiances. / A seguinte pesquisa aborda sobre o rock and roll e fenômenos que venham se contextualizar com essa temática, a exemplo do uso dos espaços pelos fãs e das formas de sociabilidades que são encontradas nesses espaços em que os eventos acontecem. Aborda-se sobre os processos históricos deste estilo musical, elemento fundamental para sua compreensão, e também sobre o moshpit, performance corporal da plateia que está completamente associada à experiência de se participar de um evento de rock and roll. Pesquisas de campo ocorreram na cidade de Goiânia, Goiás, e foram executadas narrativas de como acontecem os eventos e de como ocorre a performance do moshpit. O caminho metodológico utilizado foi dos estudos em performances culturais, que são coerentes com a temática abordada. É possível concluir que o ambiente que vem à tona quando esses eventos são executados é repleto de liminaridades e de liberdade, e que todo esse contexto ético e estético de rock and roll, moshpit e performance vem de um conjunto de comportamentos restaurados e de um conhecimento incorporado por parte das pessoas que integram esse cenário e esses ambientes.

Submitted by Margareth Ferreira Pinto (margarethfpinto@hotmail.com) on 2016-04-06T19:06:53Z No. of bitstreams: 1 Virginia.pdf: 686215 bytes, checksum: 301528ad9541b7683467d4896412cb98 (MD5) / Approved for entry into archive by cleuza maria medina dos santos (cleuzamai@yahoo.com.br) on 2016-04-29T20:24:24Z (GMT) No. of bitstreams: 1 Virginia.pdf: 686215 bytes, checksum: 301528ad9541b7683467d4896412cb98 (MD5) / Made available in DSpace on 2016-04-29T20:24:24Z (GMT). No. of bitstreams: 1 Virginia.pdf: 686215 bytes, checksum: 301528ad9541b7683467d4896412cb98 (MD5) Previous issue date: 2013 / O presente estudo refere-se a uma dissertação de mestrado em Educação Ambiental, a qual que teve como objetivo estabelecer um diálogo entre música, sociedade e Educação Ambiental. Sendo assim, tem-se como problema de pesquia investigar de que forma a música, por meio do rock and roll, vem contribuindo para pensarmos na crise ambiental que se instala na atualidade. Para dar conta de responder a essa investiação selecionaram-se letras de rock de sete bandas de diferentes países ocidentais que tratam da temática ambiental, desde a década de 1990 até os dias atuais. Apoiada em autores como Michel Foucault, Félix Guattari, Zygmunt Bauman, Isabel Carvalho, Leandro Belinaso Guimarães, Maria Lúcia Castagna Wortmann, entre outros, a pesquisa analisou as enunciações de natureza, meio ambiente e homem presentes nas letras que compuseram o corpus de análise desta investigação. O caminho metodológico selecionado para operar com o material empírico trata especificamente de algumas ferramentas da análise do discurso, a partir de Michel Foucault. Na análise do material posto em suspenso, a pesquisa apontou para dois enunciados potentes, os quais vêm auxiliando na constituição do discurso da crise ambiental por meio de letras de rock and roll: o homem como principal destruidor do planeta, este intitulado de antropocentrismo; e o terror e medo pela perda do planeta. Com isso, evidenciaram-se que ditos como esses, presentes nas letras de rock selecionadas, entram na ordem do discurso verdadeiro no campo da Educação Ambiental, o que justifica a escrita dessa dissertação. Sendo assim, ressalta-se a importância de atentarmos para rock and roll, como um artefato cultural potente que vem nos auxiliando a olhar para crise ambiental, interpelando-nos a constituir modos de ser e viver, diante de saberes e verdades produzidas na e pela cultura, pois, diante dos significados travados por meio da cultura, vamos engendrando nossos modos de vida, bem como estabelecendo relações com o mundo em que vivemos. / The present study refers to a master`s degree dissertation in Environmental Education which has as its objective to establish a dialogue among music, society and Environmental Education. That said, this research problematizes how to investigate the way music, through rock and roll, has been contributing to think about the environmental crisis of our days. With the intention of problematize the way music, through rock and roll, has been contributing to make us think about the environmental crisis, it has been selected rock and roll lyrics from seven different western bands about environmental themes, since the early 90 ́s to nowadays. Supported by authors such as Michel Foucault, Félix Guattari, Zygmunt Bauman, Isabel Carvalho, Leandro Belinaso Guimarães, Maria Lúcia Castagna Wortmann and others, the research analyzed enunciations of nature, environment and men presented on the lyrics that composed this investigation ́s analysis corpus. The methodological patch selected to operate with the empirical material is specifically some speech analysis tools from Michel Foucault. Based on the analysis of this material, the research lead to two strong statements, which has been helping the formation of the environmental crisis speech through rock and roll lyrics: the mankind as the main destructor of the planet, what is named as anthropocentrism, and the terror and fear for the planet ́s losses. Whit this, it became evident that sayings like those presented in the selected rock and roll lyrics agree with the true speech on Environmental Education field, what justifies this dissertation. Thus, it is highlighted the importance to pay attention to rock and roll as a strong cultural artifact that has been assisting us to look to the environmental crisis, asking us to create ways of being and living, in front of the knowledge and truths produced in and by the culture, for the meanings locked by the culture, we engender our way of life and establish relations with the world we live in.

High school general music classes often primarily consist of lectures about the Western art canon, despite repeated calls for a popular music focus (Deal, 1984; Miceli, 1998; Snell, 2007; Thompson, 1979; Woody, 2007). It is argued that the latter approach can alleviate student apathy toward class content and boredom, provide more meaningful learning experiences for the students, and create a more positive experience for the teacher. The purpose of this study is to examine the experiences of students and teachers in both a traditional general music class and a popular music-focused general music class. In this qualitative comparative study, I studied two high school general music classes in Tennessee and investigated the experiences of the students and teachers with respect to subject matter, teaching techniques, and meaningful learning. My data sources were interviews with teachers and students, classroom observations, and classroom archival documents. I analyzed the data using interpretive coding guided by a constant comparative approach. Cross-case emergent themes involving meaningful learning included students' preference for music studied at the end of the semester and a high level of student-teacher interaction and engagement when studying popular styles of music. Regarding curricula and teaching methods, cross-case themes showed similar attitudes and frustrations for teachers and students in both classes. Within-case themes in the Music for Listeners class included an expressed student desire to learn popular music, student lack of understanding of the Western art canon, and student ability to connect class topics to outside of school activities. Within-case themes in the Development of Rock 'n' Roll class illustrated the importance of delivery style and technology in the general music classroom. I concluded that a combination of curriculum and teaching style produced differing experiences for the students and teachers. Based on the results of this study, suggestions for education profession include employing a genre of music that is meaningful to the students in their daily lives; engaging students in conversations about the music they enjoy; avoiding "busy work" and ensuring that assignments are relevant; and providing ample music listening opportunities.

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