This study examines popular female Christian vocalists of the 1970s and 1980s, their images and their contemporary Christian music (CCM) lyrics. This literature illustrates how music becomes popular, and also how it becomes a powerful source of communication, which prompts popular culture and society to buy into its style and lyrics. The implications of this study illustrates the importance of image and lyrics and how certain female CCM vocalists had greater influences, impact and had the ability to make changes within their female audiences towards Christianity.

本研究為探討搖滾音樂演唱會：「Say Yes to Taiwan」在文化行銷中所呈現的諸種面向，包含了行銷模式分析與音樂的社會功能之文化論述。「Say Yes to Taiwan」為台灣目前負載公共議題訴求音樂活動之翹楚，不但規模已臻成熟，自2000年以來每年持續地舉辦也形成了活動自身的歷史，其與政治、社會運動之間的關連性更是台灣其他流行音樂所缺乏的，故值得作為音樂展演文化分析的對象。依照黃葳威(2003)對文化行銷所下之定義：「依據國家原生文化的取向設定宗旨任務，而進行特定族群藝文教育、知識的推廣，及特定族群文化產品與相關服務的提供，以期達成傳承與交流特定族群文化的理想」我們可知，「Say Yes to Taiwan」以一個不收費的音樂演唱會藝文活動，來推動台灣主體性理念之活動宗旨，並進行本土搖滾創作音樂的推廣，以其達到促使年輕群眾關心公共議題的目標等等，的確是符合文化行銷的定義。同時，藉以分析這個帶有政治理念訴求的「音樂社會運動」，不難看出其中音樂與政治動員的連帶關係，音樂自此跳脫了純美學討論的範疇，進而介入了社會與政治的實際運作，音樂以其「創造認同、經驗感情、組織時間」的獨特社會功能，對於群眾的動員與社會變革產生了可能的影響，因此，藉由對音樂演唱會活動的文化行銷模式分析為起點，發現活動背後深層的文化意涵，是本研究的論述方向。 根據Costa and Bamossy在1995年時提出一個關於分析文化行銷的模式，探討國家原生文化對於文化行銷所可能產生的層級影響，以及多重目標、關鍵決策人士與多元行銷區塊的文化行銷架構，本研究首先發現，在台灣目前國族認同斷裂、分歧的現況下，「Say Yes to Taiwan」活動亟欲「再現」一個台灣本土性認同之原生文化意識實踐，在這個大原則的指導下，對於文化行銷層級所產生的影響：無不以鞏固台灣主體定位為優先；在任務定位方面，是推動認同台灣、邀請國外樂團參以期達到影響國際視聽之效，另外並進一步促使年輕族群關心公共議題的討論與促進地方音樂文化與觀光產業的繁榮發展；在對藝文教育與知識的態度方面，則是幫助一般觀眾了解與欣賞台灣的創作音樂，並且鼓勵從台灣本土角度出發進行的藝術創作；在活動與節目內容、服務相關零售紀念品和行銷的態度上，則是選擇與認同台灣意識的藝人、企業、組織單位合作；在對所訴求參與觀眾的定位上，則是鎖定年輕人作為目標群眾，希望將台灣認同的理念、關心公共議題的素養推廣至年輕人身上。由此可見「認同台灣」的國家原生文化的意識形態實踐對於「Say Yes to Taiwan」文化行銷的總體性層級影響。 接著，本研究根據多重目標、關鍵決策人士與多元行銷區塊的文化行銷架構模式分析發現各區塊的文化行銷特色與矛盾，並分析出多元區塊間彼此的矛盾與衝突之處，包括：爭取贊助單位資源之經濟目標與推廣本土創作音樂的教育、知識推廣目標產生了衝突，贊助單位希望邀請主流藝人演出以求取悅大眾，但主辦單位卻希望維持推廣創作搖滾樂團的教育目的，以及關鍵決策人士之間，由於彼此的年齡代溝，而有對此一流行文化活動看法不同的角色衝突存在，老一輩的關鍵決策者心儀古典菁英音樂文化，對於年輕關鍵決策者所力持的流行文化搖滾樂抱持懷疑態度。至於在關鍵行銷區塊方面，可分為針對觀眾與贊助單位所作的行銷，又可分為下列細項：年輕搖滾音樂愛好者的核心觀眾、喜愛音樂的一般潛在觀眾、關心政治議題的潛在觀眾、民間政治團體贊助單位、政府相關部門贊助單位、企業贊助單位以及媒體贊助單位。而想要在同一個活動中同時攘括年輕搖滾音樂愛好者的核心觀眾，與喜愛流行音樂的一般潛在觀眾，這兩種在社群本質特色上相衝突的關鍵行銷區塊，可能會產生活動本質錯亂的危險，於是在年輕搖滾音樂愛好者的核心觀眾、與喜愛音樂的一般潛在觀眾這兩個關鍵行銷區塊之間，便產生了潛在相衝突的可能。 於是在SYTT文化行銷模式中所出現的「SWOT」與多元區塊間的衝突，本研究力求從文化面分析中來為其找出解答與改善建議，包括：應重視評估計畫的重要——以適於活動組織本身規模與負擔的現場問卷調查，輔以影音、文字記錄來作為評估計畫研究進行的資料蒐集法，並交由組織內部專職或外部專門人員加以分析；發展細緻的理性論述——將文字論述重點轉移至對台灣內部的關心和反省，以及將活動定位由台灣與中國間的「政治」問題提升至反對中國對台灣武力壓迫的「反戰」問題，以求獲得國際視聽的認同；發展音樂演唱會以外，與本身音樂活動相關的組織性活動；維護搖滾音樂的品牌識別性；與贊助單位建立良好的溝通管道以培養長久的贊助關係以及發展多元資源來源，其中包括——以影音複製品的販賣以求增加營收，並選擇適合自身特色，且能動性高的另類媒介作為活動訊息的宣傳管道；最後一點則是活動焦點往台灣內部轉向與擴展。透過以上建議的提出，希望能對「Say Yes to Taiwan」的文化行銷分析作出實質的幫助。 在前一部份較為「微觀」的文化行銷模式細部分析之後，本研究最後擬將此一研究主題放置於「鉅觀」的整體社會、政治結構互動關係中來作文化性的整合討論，藉以深化文化行銷分析的論述。文中以搖滾樂的「創造認同、經驗感情、組織時間」的音樂社會功能為起點，以及與群眾「一體」的社群力量，得以成為群眾發聲的代言媒介，接連分析音樂如何介入政治動員的可能，與發展社會運動新型態的功能。當然音樂不是革命，也許無法真正實際地去影響政治與社會變革，但它的次文化社群召喚性卻可輕易地促使我們開始注意並關心公共議題，造成思想上的質變，尤其是它對年輕人的影響力，其所形成的與論與關心力量，足以對國家機構施加變革壓力，使國家機構無法輕忽人民心聲，相信這是音樂對於政治與社會變革的實際實踐作為之所在。搖滾音樂演唱會，諸如此處的「Say Yes to Taiwan」，以其號召力激發後續的背負公共議題理念的演唱會活動出現，等於是促使連續不止的公共領域出現，成為理性對談語言的寄存所，於是搖滾音樂或搖滾音樂演唱會這種相對另類的媒體，對於推動公共議題理念的文化行銷與傳播功效，的確是不容忽視的。 / The topic of this study is about the cultural marketing of the rock concert ”Say Yes to Taiwan” , including the analysis of the cultural marketing’s model and the cultural discuss about the social function of music. Now in Taiwan, ”Say Yes to Taiwan” is the leader of the concerts which carry the public claim, not only it’s scale comes to a head, but also it’s long term activity’s history. It’s correlation with the politics and the social movement is also the biggest difference between the local creative rock music and the local pop music , that’s why ”Say Yes to Taiwan” is worth of being the topic of the cultural marketing study. According to Wai-Wai Huang’s definition of cultural marketing : ”Base upon the natural culture of the state, setting the bearing and the mission, promoting the artistic education and information of the particular group, and offering the cultural production and the interrelated service of the particular group, hoping to accomplish the ideality of translating and communicating the culture of the particular group(Wai-Wai Huang, 2003).” Because ”Say Yes to Taiwan” is a free rock concert, it hopes to promote the”Taiwanese identity ideology” and the local creative music, it also hopes to let the young audiences caring about the public issue, so it corresponds with the definition of the cultural marketing indeed. At meanwhile, via studying this ideal and political “social movement of music”, it’s easy for us to see the correlation between the music and the political mobilization. From now on, the music not only belongs to the aesthetic discussion, but also involves the practice of social and political improvement. Music uses it’s unique social function: “creating identity, experiencing emotion and organizing time” to make the social transignfication and the mobilization of people possible. Therefore, via the analysis of the cultural marketing’s model ,then finding the deep cultural meaning of this concert, is the emphasis of this study.

This thesis builds from press accounts of Bruce Springsteen’s South by Southwest keynote address, taken by many to be a renewed call to arms of the classic mantras of the rock ethos in the age of a declining recording industry. In tracing the ways the speech circulated I argue that its discourse was rearticulated toward quite different (and concerning) ends. Throughout, I aim to show the apparatuses of power that sustains the rock liberation fantasy. I read the coverage of Springsteen’s address as a therapeutic discourse meant to soothe the anxiety over the closure of agency in the age of neoliberalism. The general problematic for the thesis, then, addresses an anxiety over the collapse of freedom and as such works to offer broad reflections on the nature of radical agency in our increasingly neoliberal present. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2018-11-05T13:01:48Z No. of bitstreams: 1 Gisele da Silva Souza.pdf: 1669038 bytes, checksum: bedf2a7d0febbdf58b1255335d75ed4a (MD5) / Made available in DSpace on 2018-11-05T13:01:48Z (GMT). No. of bitstreams: 1 Gisele da Silva Souza.pdf: 1669038 bytes, checksum: bedf2a7d0febbdf58b1255335d75ed4a (MD5) Previous issue date: 2018-09-14 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This dissertation investigates the work of Engenheiros do Hawaii and the emergence of the generation of young people in the 1980s, leading to a discussion on rock and issues involving the young at this time. The research was developed from songs and analysis of the covers of the 18 official discs of the group, in which we can observe various themes, among them the youth and the city. The analysis is organized in three moments. In the first one, he recovers the trajectory of rock, its arrival in Brazil and the formation of the rock generation of the 1980s, as well as marketing issues, cultural circularity and social and political criticism in the songs of Engenheiros do Hawaii observing the tensions experienced in the country during this period. Thereafter, discussions about the cities and the youth are incorporated, bringing representations such as the flâneur, dândi, nihilism, existentialism, experiences of urban violence representations such as the flâneur, dândi, nihilism, existentialism, experiences of urban violence generating fear, insecurity, solitude and anguish. Including also the existential yearnings of the young, their discouragement and the issue of consumption, either alcohol or drugs, attempts to face pain and regrets, forget loves and void relationships. Other issues addressed are the concerns about the expansion of technology, its physical and social impacts, hopelessness in the face of wars and violence / Esta dissertação investiga a obra dos Engenheiros do Hawaii e o surgimento da geração de jovens nos anos 1980, realizando uma discussão sobre o rock e as questões que envolviam os jovens nesse momento. A pesquisa foi desenvolvida a partir de canções e da análise das capas dos 18 discos oficiais do grupo, nas quais é possível observar diversas temáticas, entre elas a juventude e a cidade. A análise encontra-se organizada em três momentos. No primeiro, recupera a trajetória do rock, sua chegada ao Brasil e a formação da geração roqueira dos anos 1980, assim como as questões mercadológicas, circularidade cultural e a crítica social e política presente nas canções dos Engenheiros do Hawaii, observando tensões vivenciadas no país nesse período. Na sequência, incorporam-se as discussões acerca das cidades e da juventude, trazendo representações como o flâneur, dândi, niilismo, existencialismo, experiências de violência urbana, gerando medo, insegurança, solidão e angústia. Incluindo também os anseios existenciais dos jovens, seus desalentos e a questão do consumo do álcool e de drogas, as tentativas de enfrentar as dores e mágoas, esquecer amores e relações vazias. Outras questões abordadas são as inquietudes frente à expansão da tecnologia, seus impactos físicos e sociais, a desesperança frente às guerras e à violência

<p>The culture center studied has gone from being organized by enthusiasts and ideals, to being institutionalized with a educational association responsible for the management. The questions discussed are – how this change affects the active people in the house and what consequences these changes make for the institution of the house and for the regular management.</p> / <p>Kulturhuset som studeras har gått från att med eldsjälar och idealism vara ett fritt drivit replokalshus, till att bli en tydlig institution med ett studieförbund som sköter driften. Uppsatsen behandlar frågor om hur denna förändring påverkar de aktiva i huset och vad dessa förändringar får för konsekvenser, både för huset som institution och för den praktiska driften. </p>

This doctoral thesis is about female rock musicians who are involved in two Swedish non-profit feminist music associations; Rockrebeller, which is situated in Uppsala and She´s Got the Beat in Umeå. The aim of the study is to analyze how the informants describe their lives as rock musicians and as active participants in these feminist music associations. The main issues are musicianship, identity, feminism and gender. The empirical material consists of in-depth interviews with ten informants – five from Umeå and five from Uppsala – and these interviews are complemented by a number of participatory observations. The focus of thesis is on the informants’ self-presentations: their stories and experiences. One central theme is the ways that the informants’ different identities are interlaced and closely knit together in different ways: as feminists, as musicians and as active participants in the associations. Two major themes in my thesis are music and politics and they can be regarded as two sides of the same coin; in order to make it easier for women to play rock music they have become involved in the associations, and this relationship is regarded as a form of political work. The informants have been influenced by punk and Riot Grrrls Movement – a feminist movement that is associated with punk bands and fanzines is sometimes seen as representative of a "third wave feminism". All the informants are members of rock bands, but many are also engaged in other projects, for instance in the role of a singer-songwriter, and these different identities as musicians are often seen as complementary to each other. Rock bands are generally considered to be fascinating but insecure experiences because bands tend to split up with time. Those who are also active musicians outside of the band (most often guitarists) usually regard their own individual identity as musicians as the most important thing; a safe harbor that is always there. Their ideological beliefs are for instance visible in a common vision of the ideal rock band as democratic, anti-hierarchic and where an equality of opportunity exists. Rock music is in some ways used as an expression for an alternative way of life, of rebellion, and is seen as politically subversive. One of the ambivalences of the source material is the kind of identity politics that the associations represent and whose purpose is to improve the gender equality in the field. There is a well-known dilemma involved in this practice; how is it possible to navigate from a marginalized, subordinated position, without using the method of categorizing that may increase the probability of reproducing their own marginalization? Their life as rock musicians is described as enjoyable rewarding, and as a means of expressing their cultural belonging and ideological beliefs, such as feminism. However, the overall picture highlights the pleasures of creating and making music, which serves as an explanation why they strive to make rock music more accessible for women. The descriptions of being in a band and performing on stage are varied and on the whole complex. The group dynamics of the band are portrayed as very meaningful but also trying at times, and playing in front of an audience is described as everything between ecstasy and a nerve-wrecking experience. However, there is an overall adaptation to the norms surrounding rock music; a sense that one has to adjust oneself in order to function as a rock musician. The informants´ statements generally emphasize gender, but from time to time they identify themselves with other male amateur rock musicians.

The culture center studied has gone from being organized by enthusiasts and ideals, to being institutionalized with a educational association responsible for the management. The questions discussed are – how this change affects the active people in the house and what consequences these changes make for the institution of the house and for the regular management. / Kulturhuset som studeras har gått från att med eldsjälar och idealism vara ett fritt drivit replokalshus, till att bli en tydlig institution med ett studieförbund som sköter driften. Uppsatsen behandlar frågor om hur denna förändring påverkar de aktiva i huset och vad dessa förändringar får för konsekvenser, både för huset som institution och för den praktiska driften.

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This dissertation presents an interdisciplinary investigation into the construction of gender-transgressive supernatural voices in Gothic media, drawing on works in queer and feminist theory, voice studies, and performance studies. Spanning two centuries and case studies including Gian Carlo Menotti’s The Medium, art and popular song including Franz Schubert’s “Erlkönig” and Kate Bush’s “Leave It Open,” literary works by Charles Brockden Brown and Vernon Lee, and the Spiritualist séances of Louisa Ann Meurig Morris and Jesse Shepard, I argue that these gender-transgressive voices offer a striking alternative theorization of the “disembodied voice” that, in direct contrast to techno-determinist narratives, is created in performance through unsettling the voice-body-gender relationship. I locate the origins of the connection between gender-transgressive and supernatural or disembodied voices in the early nineteenth century, where rapidly changing ideas about of gender and the body collided with a parallel retheorization of voice as both an important locus for understanding social difference and a site of identity formation. The Gothic became an important mode to explore and destabilize the relationship between voice, body, and gender, particularly for voices that did not conform to increasingly rigid gender expectations; high male and low female voices are consistently used to mark alterity in Gothic media across genres, as are other queer-coded vocal acts. This context sets the stage for what I term performed disembodiment; moments in which a voice is understood as being disembodied, despite the visible presence of the vocalizer. My work argues that some forms disembodiment can be produced not by making a performer’s body absent, but precisely through marking the body’s presence and setting the performing body at odds with the voice through gender-transgressive techniques. One of the primary methods of effecting this performed disembodiment is through “cross-gender vocalization,” wherein pitch, timbre, and articulation are manipulated resulting in, for example, female bodies that appear to produce “male” voices. My dissertation thus argues that “disembodiment” can be produced not only via technologies but through contextual strategies of performance, involving both performers and audiences in the creation of the disembodied voice